FREDERIC  H.  RIPLEY 
TliOAAS  TAPPER 


AAERICAN  - BOOK  • CoAPANY 

N£W  YoRK  • CINCINNATI 
CHICAGO 


f 

i 


The  Natural  Course  in  Music 

ANNOUNCEMENT.  Before  deciding  upon  the  publication  of  the  present 
course  the  publishers  had  striven  for  some  years  to  secure  a work  which  should 
meet  the  highest  requirements  in  public  school  music.  Many  works  were 
submitted  for  examination,  but  none  wholly  possessed  those  high  qualities 
which  the  publishers  deemed  necessary. 

It  was  not  until  they  met  Messrs.  Frederic  H.  Ripley  and  Thomas  Tapper 
that  they  felt  their  ideals  were  to  assume  a definite  form  and  be  given  to  the 
world.  The  personality  of  the  authors;  the  originality  of  the  method;  the  beauty 
of  the  material,  both  musical  and  literary  ; the  taste  and  ability  displayed  in 
arrangement,  and  their  lofty  views  of  music  as  a factor  in  education — all  these 
combined  to  convince  the  publishers  that  Messrs.  Ripley  and  Tapper,  above 
all  others,  were  the  best  fitted  to  offer  the  music-educators  of  this  country  a 
course  in  music  worthy  of  their  esteem  and  befitting  the  noble  art  in  whose 
interest  they  labor.  Hence  the  present  Natural  Course  in  Music. 

AIM.  The  Natural  Course  in  Music  has  been  designed  to  enable  the  pupils  of 
our  public  schools  to  master  technical  music  thoroughly,  to  enable  them  to 
read  music  at  sight,  and  to  render  it  well  and  artistically. 

The  authors  have  not  rested  satisfied  with  making  the  pupils  familiar  with 
"music  as  a science,  but  have  gone  further  and  endeavored  to  develop,  side  by 
side  with  the  ability  to  perform,  the  taste  to  understand,  to  select,  and  admire 
music  whose  rendition  gives  the  most  enduring  pleasure. 

The  object  of  the  course  is  to  impart  the  power  to  read  vocal  music.  The 
plan  is  similar  in  every  respect  to  a graded  series  of  literary  readers.  Music, 
in  fact,  is  a language,  and  should  be  learned  just  as  any  other  language  is 
learned,  by  using  it,  the  aim  being  the  complete  mastery  of  all  rhythmetic  and 
chromatic  difficulties  common  in  the  most  advanced  vocal  work. 

MATERIAL.  There  is  a steadily  increasing  demand  on  the  part  of  teachers 
for  music  which  shall  be  valuable  both  as  precept  and  example.  The  Natural 
Music  Course  aims  to  meet  this  demand.  Care  has  accordingly  been  taken  to 
place  before  the  pupil  material  selected  from  the  most  classic  authors — material 
which  was  considered  invaluable  to  the  inculcating  of  a healthful  musical  zest. 
In  conjunction  with  this  music  the  poems  of  master  writers  have  been  used — 
poems  that  are  not  merely  to  be  learned  once  and  forgotten  ; not  a task  to  be 
accomplished  by  hard  memorizing  ; but  poems  that  shall  be  learned  for  theii 
own  sake  and  be  remembered  for  their  charm  and  freshness. 

Throughout  the  course  not  only  have  the  songs  and  extended  solfeggios  been 
selected  from  the  best  composers;  but  also  the  brief  exercises.  Thus  both  in 
practice  and  song  the  child  is  invariably  brought  into  contact  with  the  thought 
©f  classical  writers.  For  continuation  see  third  cover  page. 


PHOTO-REPRODUCTIONS 


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NATURAL  MUSIC  CHARTS 

IN  REDUCED  SIZE 


WITH  DIRECTIONS  FOR  THEIR  USE  IN  SCHOOLS 


BY 

FREDERIC  H.  RIPLEY  and  THOMAS  TAPPER 


& 


AMERICAN  BOOK  COMPANY 


NEW  YORK 


CINCINNATI 


CHICAGO 


Copyright,  1895,  by 
AMERICAN  BOOK  COMPANY 


CHART  SERIES  A— No.  i— Reduced 


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DIRECTIONS  TO  ABOVE  CHART. 

The  art  of  teaching  music  is  based  upon  precisely  the  same  principles  that 
govern  the  teaching  of  reading.  Any  teacher  who  can  teach  a class  of  children 
to  read  the  primer  can,  by  a similar  process,  teach  them  to  read  this  chart. 

( i ) Teach  the  scale  by  rote  as  a melody,  and  when  it  is  perfectly  learned, 
show  the  representation  of  it  upon  Modulator  No.  i. 

( 2 ) Teach  the  children  to  connect  each  tone  of  the  scale  with  the  note  which 
represents  it,  by  moving  the  pointer  up  and  down  the  scale  while  the  children  sing. 

( 3 ) As  soon  as  the  order  of  the  tones  is  fixed,  and  the  children’s  voices  follow 
the  pointer  readily,  move  to  scale  (2  ).  Sing  Do , Re  ; hold  Re  ; change  e to  o 
and  then  o to  Do , still  holding  the  same  pitch.  This  gives  Do  of  the  new  scale. 

( 4 ) Sing  the  new  scale  as  the  first  was  sung,  and  when  familiar  pass  to 
No.  3.  Sing  Do , Re , Mi ; hold  Mi;  change  e to  o and  o to  Do , holding  the 
same  pitch.  This  gives  Do  of  the  new  scale. 

( 5 ) As  soon  as  the  new  scale  becomes  familiar,  pass  to  the  next,  and  so 
continue  till  all  have  been  sung  and  the  children  have  gained : ( 1 ) the  power  to 
sing  the  scale  freely  up  and  down  from  the  staff;  ( 2 ) the  ability  to  hold  the 
tone  and  change  the  syllable;  (3)  the  knowledge  that  the  scale  may  begin  on 
any  staff  degree,  and  that  the  tones  follow  m the  same  order  and  relation  from 
Do,  wherever  placed ; that  ejich  tone  derives  its  effect  from  its  relation  to  other 
tones  and  not  from  the  position  of  the  note  on  the  staff. 

(Do  not  attempt  to  explain  the  staff,  clef,  signatures,  or  notes.) 

Dote.  — Half  of  the  time  devoted  to  music  in  this  grade  should  be  given  to 
Rote  Singing. 

390397 


4 


CHART  SERIES  A— No.  2— Reduced 


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DIRECTIONS  TO  ABOVE  CHART. 

This  page  teaches  that  music  moves,  like  print,  from  left  to  right,  and  gives 
practice  in  parts  of  the  scale. 

The  children  here  gain  the  power  to  distinguish  one  exercise  from  another. 
The  teacher  may  call  for  the  exercises  in  irregular  order  ; may  call  on  individuals 
to  point  out  the  one  she  sings  ; may  call  on  individuals  to  point  while  the  class 
sings ; may  call  on  the  class  to  think  the  exercise,  singing  aloud  the  first  and 
highest,  or  first  and  lowest  notes  only. 

The  previous  chart  should  be  reviewed,  and  much  practice  given  on  the 
whole  scale  in  holding  the  tone  and  changing  the  syllable,  and  in  giving  the 
tones  in  proper  relation  from  other  beginnings  than  “ Do.” 


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CHART  SERIES  A— No.  3— Reduced 
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DIRECTIONS  TO  ABOVE  CHART. 

This  page  gives  practice  i ( i ) In  holding  the  tone  and  changing  the  syl- 
lable. { 2 ) In  following  the  tones  of  the  scale  from  the  staff.  ( 3 ) In  following 
a more  broken  line  and  shorter  parts  of  the  scale. 

To  vary  the  exercise  : 

( 1 ) The  teacher  may  point  while  the  children  sing. 

(t2  ) A child  may  point  while  the  teacher  or  the  class  sings. 

( 3 ) The  class  may  think  the  tones,  singing  only  what  the  teacher  calls  for. 

( 4 ) The  teacher  may  sing  an  exercise,  and  the  children  may  tell  which  it  is. 

(5  ) The  teacher  may  sing  part  of  an  exercise,  and  the  children  may  point 
out  the  notes. 

( 6 ) The  teacher  may  stop  singing  suddenly,  and  the  children  may  point  out 
the  last  note  sung. 


6 


CHART  SERIES  A— No.  4— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

This  page  continues  practice  of  page  3 with  slightly  increased  difficulty. 


CHART  SERIES  A— No.  5— Reduced  7 


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DIRECTIONS  TO  ABOVE  CHART. 

New  ideas — Bar,  Measure,  Pulse  (beat),  Accent.  (1)  Sing  the  scale, 
accenting  the  note  after  the  bar.  (2)  After  singing  the  exercises  to  bring  out  the 
new  ideas,  use  all  of  the  devices  of  pointing  and  singing  before  mentioned. 
(3)  Teach  the  words — bar,  measure,  beat,  accent. 

The  practice  of  beating  time  should  begin  here.  A good  way  is  to  allow 
the  children  to  extend  the  right  hand  on  the  desk  before  them,  and  beat  lightly 
with  the  second  finger  on  the  top  of  the  desk.  Give  one  tap  on  the  desk  for 
each  beat,  and  hold  the  finger  firmly  down  till  ready  to  give  the  next  beat. 
Raise  the  finger  very  slightly  between  the  beats,  and  let  the  difference  between 
the  strong  and  the  weak  beat  be  expressed  in  pressure  upon  the  desk,  not  by  a 
loud  and  a soft  tap. 


8 


CHART  SERIES  A — No.  6 — Reduced 

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DIRECTIONS  TO  ABOVE  CHART. 

Apply  what  was  learned  from  page  5 here,  and  when  the  exercises  have 
been  sung  with  correct  accent,  review  the  previous  ideas. 

Review  the  scales  from  the  Modulator. 


CHART  SERIES  A— No.  7~Reduced 


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DIRECTIONS  TO  ABOVE  CHART. 

This  chart  begins  a systematic  study  of  the  tones  of  the  scale.  Do  is  firs* 
considered.  (This  tone  is  called  the  Tonic.)  It  is  the  object  of  the  exercise  to 
so  impress  this  tone  on  the  pupil’s  memory  that  he  can  return  to  it,  from  any 
other  tone,  with  ease  and  accuracy. 

Sing  very  slowly,  dwelling  upon  the  tones,  and  impressing  their  effect  upon 
the  mind. 

The  teacher  should  guide  the  class  with  the  pointer. 

The  half  note  which  appears  for  the  first  time  in  Ex.  2 needs  no  explanation 
at  present. 

The  teacher  should  give  daily  practice  on  the  Modulator,  and  apply  the 
teaching  of  each  tone  study  to  the  different  scales. 


IO 


CHART  SERIES  A-No.  8-Reduced 


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27 


27 


DIRECTIONS  TO  ABOVE  CHART. 

This  chart  continues  the  study  of  Do.  The  manner  of  conducting  the  exer- 
cise is  given  on  the  previous  page. 


II 


CHART  SERIES  A— No.  9— Reduced 


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DIRECTIONS  TO  ABOVE  CHART. 

This  chart  is  devoted  to  the  study  of  Si.  (Si  is  called  the  Leading  Tone.) 
Do  not  attempt  too  much  at  a time.  This  page  takes  us  a long  way  into 
music,  and  considerable  time  will  be  required  for  its  mastery. 


2 


CHART  SERIES  A— No.  io-Reduced 


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DIRECTIONS  TO  ABOVE  CHART. 

Sol  is  the  tone  to  be  impressed  on  the  memory  by  this  chart. 

(Sol  is  called  the  Dominant.) 

The  exercise  at  the  bottom  of  the  page  introduces  a new  meter.  Bring  out 
the  effect  by  accenting  the  first  note  in  each  measure. 


CHART  SERIES  A-No.  n-Reduced 


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DIRECTIONS  TO  ABOVE  CHART. 

The  study  of  Fa  (Fa  is  called  the  Subdominant). 

The  teacher  should  use  the  Modulator  every  day  and  practice  this  exercise 
in  other  keys. 

The  choral  on  this  page  is  just  as  it  was  written  by  the  author,  Schein. 
The  holds  give  the  notes  over  which  they  are  placed  an  additional  beat.  These 
must  be  carefully  observed  to  get  the  proper  effect  of  the  melody. 


14 


CHART  SERIES  A— No.  12-Reduced 


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DIRECTIONS  TO  ABOVE  CHART, 

Before  attempting  to  sing  these  chorals  the  children  should  practice  the  tone 
effects  in  the  same  key  from  the  Modulator. 

Observe  carefully  the  holds. 

The  dots  before  the  double  bar  in  No.  1 indicate  that  what  has  gone  before 
should  be  repeated  before  going  on. 


CHART  SERIES  B— No.  i— Reduced 


15 


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DIRECTIONS  TO  ABOVE  CHART. 

The  art  of  teaching  music  is  based  upon  precisely  the  same  principles  that 
govern  the  teaching  of  reading.  Any  teacher  who  can  teach  a class  of  children 
to  read  the  primer  can,  by  a similar  process,  teach  them  to  read  this  chart. 

(r)  Teach  the  scale  by  rote  as  a melody,  and  when  it  is  perfectly  learned, 
show  the  representation  of  it  upon  Modulator  No.  1. 

(2)  Teach  the  children  to  connect  each  tone  of  the  scale  with  the  note  which 
represents  it,  by  moving  the  pointer  up  and  down  the  scale  while  the  children  sing. 

(3)  As  soon  as  the  order  of  the  tones  is  fixed,  and  the  children’s  voices  follow 
the  pointer  readily,  move  to  scale  (2).  Sing  Do , Re  ; hold  Re  ; change  e to  o 
and  then  o to  Do , still  holding  the  same  pitch.  This  gives  Do  of  the  new  scale. 

(4)  Sing  the  new  scale  as  the  first  was  sung,  and  when  familiar  pass  to  No. 
3.  Sing  Do , Re,  Mi  ; hold  Mi ; change  e to  o and  o to  Do,  holding  the  same 
pitch.  This  gives  Do  of  the  new  scale. 

(5)  As  soon  as  the  new  scale  becomes  familiar,  pass  to  the  next,  and  so 
continue  till  all  have  been  sung  and  the  children  have  gained  : (1)  the  power  to 
sing  the  scale  freely  up  and  down  the  staff ; (2)  the  ability  to  hold  the  tone  and 
change  the  syllable  ; (3)  the  knowledge  that  the  scale  may  begin  on  any  staff 
degree,  and  that  the  tones  follow  in  the  same  order  and  relation  from  Do, 
wherever  placed  ; that  each  tone  derives  its  effect  from  its  relation  to  other  tones 
and  not  from  the  position  of  the  note  on  the  staff. 

( Do  not  attempt  to  explain  the  staff,  clef,  signatures,  or  notes.) 

Note. — Half  of  the  time  devoted  to  music  in  this  grade  should  be  given  to 
Rote  Singing. 


1 6 


CHART  SERIES  B-No.  2— Reduced 


-g_g- 


.VZyZ&ZL 


DIRECTIONS  TO  ABOVE  CHART. 

Modulator  No.  2 should  be  used  in  the  same  manner  as  No.  I.  Tt  completes 
the  cycle  of  scales  used  in  these  charts,  and  with  No.  i will  enable  the  pupils  to 
get  Do  of  any  scale  from  the  “ C ” pitch  pipe. 

The  importance  of  scale  practice  cannot  be  overestimated. 

Let  the  tone  be  natural  and  rather  soft. 

Bring  out  the  effect  of  the  tones  by  dwelling  upon  each  one  until  the  next  is 
taken. 


CHART  SERIES  B-No.  3— Reduced 


7 


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33 

DIRECTIONS  TO  ABOVE  CHART. 

The  study  of  Modulators  1 and  2 is  intended  to  establish  the  scale  relation 
of  tones  in  the  mind  of  the  child. 

By  establishing  the  scale  relation,  we  mean  the  fixing  on  the  child’s  mind, 
clearly  and  forever,  the  fact  that  any  note  being  called  Do,  the  next  below  will 
be  Si,  and  the  next  above  Re,  etc.,  and  with  this  imparting  the  power  to  sing 
the  tones  correctly. 

E.  g. : let  any  note  of  scale  1 be  called  Sol ; the  child  should  instantly  per- 
ceive the  relation  of  the  other  tones  around  it,  and  be  able  to  sing  them.  When 
he  has  sung  all  the  tones  in  proper  relation,  calling  this  note  Sol,  call  the  same 
note  La,  then  Si,  etc.  When  the  child  easily  and  promptly  gives  the  neighboring 
tones  correctly,  it  is  safe  to  assume  that  scale  relation  is  established. 

This  chart  is  a very  simple  test  of  knowledge  of  scale  relation.  It  is  put 
here  to  direct  the  attention  of  the  teacher  to  the  importance  of  scale  practice, 
and  to  the  fact  that  scale  practice  is  useless  unless  it  has  a definite  object  in  view 
and  results  in  the  accomplishment  of  it. 


18  CHART  SERIES  B— No.  4-Reduced 


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2 

73— 

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O 

ht 

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DIRECTIONS  TO  ABOVE  CHART. 


Review  of  the  ideas  given  in  Chart  Series  A,  No.  2 : (1)  Music  reads  from 
left  to  right.  (2)  Bar,  Measure,  Beat,  Accent.  (3)  Half  note,  Whole  note. 
(4.)  Exercises  beginning  with  No.  3 are  a study  of  Do  (continued  from  Chart 
Series  A).  The  tone  should  be  so  fixed  on  the  mind  that  it  becomes  easy  to 
return  to  it  from  any  other  tone  of  the  scale.  (See  Chart  Series  A,  No.  6.) 
In  conducting  the  exercise,  the  teacher  should  use  the  pointer  and  pass  very 
slowly  from  note  to  note,  dwelling  upon  any  troublesome  tone.  (5)  The  teacher 
may  stop  in  the  midst  of  an  exercise,  and  the  children  may  find  the  note  on 
which  she  stopped.  (6)  The  children  should  sing  individually — just  as  they 
read.  (In  short,  conduct  the  lesson  just  as  an  intelligent  teacher  conducts  a 
lesson  in  the  primer.) 


CHART  SERIES  B— No.  5— Reduced 


19 


gss 

J « 

S: 

m J 

. pj 

-H-- 

1 ^ 4 

^tfSi 

4 

• W c 

aT 

B= 

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B 

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c 

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^ ^ tJ  CJ 

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DIRECTIONS  TO  ABOVE  CHART. 

New  Ideas  : (1)  Quarter  note  — having  one  beat.  (2)Half  note  — having 
two  beats.  (3)  Quarter  rest. 

Rests  should  receive  as  little  attention  as  possible  — say,  “We  do  not  sing 
them  ; they  are  like  the  zero  (o)  in  arithmetic,  they  fill  unused  places.”  It  will 
be  found  in  every  stage  of  musical  development  that  the  attention  should  be 
concentrated  on  the  notes , and  that  the  rests  will  take  care  of  themselves. 

The  study  of  Do  (called  the  Tonic)  is  continued  here  in  connection  with 
scale  study.  This  requires  the  pupil  to  keep  two  tones  in  mind  as  he  moves  up 
the  scale.  Practice  carefully  as  before, 


20 


CHART  SERIES  B— No.  6— Reduced 


ii 


a»a 


2Z 


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MWM-ifW  jap 


CHART  SERIES  B— No.  7— Reduced 


21 


I P 

Hr 

V 

df~k 

/ ' 0 rt  7 

fJ  fJ 

r 

0 

O 

V O /r 

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cr- 

1 

p 

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fcr  cr- 

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H-r-  0 5-5 n 

1/ 

r 

V & a 0 a a 0 0 0 0 0 0 n 

Ik 

J 0 

r 27  S?  0 O 

DIRECTIONS  TO  ABOVE  CHART. 

New  Ideas:  (1)  Four  four  (|)  meter.  Accent  the  first  and  third  beats  — 
the  third  less  than  the  first.  The  effect  of  the  secondary  accent  may  be  secured 
by  pronouncing  the  word  com'pro-mis'ing,  and  making  the  accents  in  the  meas- 
ure correspond  with  the  accents  in  the  word,  both  in  place  and  stress.  (2)  Here, 
the  dot  after  the  half  note  (<$).)  gives  the  note  one  additional  beat.  (3)  The 
drill  exercise  is  upon  Sol  (the  Dominant).  The  drill  differs  from  that  on  the 
same  tone  in  Series  A,  by  having  the  octave  of  Sol  freely  involved.  The  hold 
('ss)  increases  the  note  value  at  least  one  beat. 


22 


CHART  SERIES  B— No.  8— Reduced 


rf~ f 

tf/p  | 

/?V 

/TV 

p a 

^ Z?  -o  S3 

CJ  SJ 

(f  v ° ° 0 1 

O £/  x- 

P K 

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CHART  SERIES  B— No.  9-Reduced 


23 


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DIRECTIONS  TO  ABOVE  CHART. 

The  effect  of  La  is  to  be  brought  out  by  this  chart.  (La  is  called  the  Sub- 
mediant or  Super-dominant.) 

Study  carefully  as  before,  and  use  all  the  devices  before  mentioned. 


24 


CHART  SERIES  B— No.  io— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

The  tone  to  be  fixed  by  this  drill  exercise  is  Re.  (Re  is  called  the  Super- 
tonic.) 

Practice  as  before. 


CHART  SERIES  B— No.  n— Reduced 


25 


DIRECTIONS  TO  ABOVE  CHART. 

Exs.  I and  2 are  intended  to  impress  upon  the  pupil’s  mind  that  rests  need 
but  little  attention,  and  really  present  but  slight  difficulty. 

When  Ex.  1 has  been  sung  correctly,  call  attention  to  the  fact  that  Ex.  2 is 
just  like  Ex.  1,  with  the  exception  that  the  tones  are  not  held  so  long  — and  that 
this  is  indicated  by  rests. 

Exs.  3a  to  4 impress  the  tone  Mi. 


26 


CHART  SERIES  B— No.  12— Reduced 


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K v K 

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J t < 

r 

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*~k  /Tl 

“75  O O n u a 

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Cl u.^P 



DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 is  a test  of  knowledge  of  tone  relation.  The  pupils  should  make  the 
transition  without  hesitation. 

Ex.  2 is  a general  drill. 


27 


CHART  SERIES  B— No.  13— Reduced 


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DIRECTIONS  TO  ABOVE  CHART. 

Exs.  1 and  2 are  for  practice  in  changing  the  syllable  while  holding  the  tone 
(Modulation).  The  children  should  be  able  to  do  this  freely  from  previous 
practice.  For  those  who  do  not  use  syllables  the  practice  is  equally  important, 
the  effort  being  to  enable  the  children  to  give  the  tones  in  proper  relation  from 
the  new  tonic. 

Exs.  3 and  4 are  two  chorals.  These  melodies  have  survived  several  cen- 
turies. They  are  worthy  of  daity  practice,  and  when  properly  sung  afford 
great  pleasure. 

The  hold  (/?v)  increases  the  note  value  at  least  one  beat. 


28 


CHART  SERIES  B— No.  14-Reduced 


f£ 


rftrcri 

iHWMZM 


ft* 


Jl  * K¥=% 


fc± 


2Z 


i 


2Z 


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p (g  -f-p  - 

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DIRECTIONS  TO  ABOVE  CHART. 

The  object  of  this  Chart  Series,  like  that  which  went  before,  is  the  mastery 
of  the  scale  relation. 

Ex.  1 is  calculated  to  test  the  pupils’  proficiency  in  this  matter. 

Exs.  2 and  3 are  old  chorals.  They  should  receive  careful  study. 


CHART  SERIES  C— No.  i— Reduced 


29 


DIRECTIONS  TO  ABOVE  CHART. 

The  art  of  teaching  music  is  based  upon  precisely  the  same  principles  that 
govern  the  teaching  of  reading.  Any  teacher  who  can  teach  a class  of  children 
to  read  the  primer  can,  by  a similar  process,  teach  them  to  read  this  chart. 

(1)  Teach  the  scale  by  rote  as  a melody,  and  when  it  is  perfectly  learned, 
show  the  representation  of  it  upon  Modulator  No.  1. 

(2)  Teach  the  children  to  connect  each  tone  of  the  scale  with  the  note  which 
represents  it,  by  moving  the  pointer  up  and  down  the  scale  while  the  children  sing. 

(3)  As  soon  as  the  order  of  the  tones  is  fixed,  and  the  children’s  voices  follow 
the  pointer  readily,  move  to  scale  (2) . Sing  Do , Re  ; hold  Re  ; change  c to  o 
and  then  o to  Do , still  holding  the  same  pitch.  This  gives  Do  of  the  new  scale. 

(4)  fhe  new  scale  as  the  first  was  sung,  and  when  familiar  pass  to 
No.  3.  Sing  Do,  Re,  Mi ; hold  Mi;  change  e to  o and  0 to  Do,  holding  the 
same  pitch.  This  gives  Do  of  the  new  scale. 

(5)  As  soon  as  the  new  scale  becomes  familiar,  pass  to  the  next,  and  so 
continue  till  all  have  been  sung  and  the  children  have  gained  : (1)  the  power  to 
sing  the  scale  freely  up  and  down  from  the  staff ; (2)  the  ability  to  hold  the 
tone  and  change  the  syllable ; (3)  the  knowledge  that  the  scale  may  begin  on 
any  staff  degree,  and  that  the  tones  follow  m the  same  order  and  relation  from 
Do,  wherever  placed ; that  each  tone  derives  its  effect  from  its  relation  to  other 
tones  and  not  from  the  position  of  the  note  on  the  staff. 

(Do  not  attempt  to  explain  the  staff,  clef,  signatures,  or  notes.) 

Note.  Half  of  the  time  devoted  to  music  in  this  grade  should  be  given  to 
Rote  Singing.  & 


30 


CHART  SERIES  C— No.  2— Reduced 


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P-*A,JLa_gzg=g: 


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DIRECTIONS  TO  ABOVE  CHART. 

Modulator  No.  2 should  be  used  in  the  same  manner  as  No.  i.  It  completes 
the  cycle  of  scales  used  in  these  charts,  and  with  No.  i will  enable  the  pupils  to 
get  Do  of  any  scale  from  the  “ C ” pitch  pipe. 

The  importance  of  scale  practice  cannot  be  overestimated. 

Let  the  tone  be  natural  and  rather  soft. 

Bring  out  the  effect  of  the  tones  by  dwelling  upon  each  one  until  the  next 
is  taken. 


CHART  SERIES  C— No.  3— Reduced 


31 


DIRECTIONS  TO  ABOVE  CHART. 

In  addition  to  the  teaching  suggested  in  the  notes  on  Modulators  1 and  2,  it 
may  be  well  to  teach  with  these  exercises : 

(1)  That  Do  or  one  of  the  scale  is  called  the  key  note. 

(2)  That  its  position  on  the  staff  is  shown  by  the  characters  at  the  beginning 
of  the  exercise. 

(3)  That  these  characters  are  called  sharps  (##)  and  flats  (kk). 

(4)  That  when  sharps  are  used,  the  last  one  (the  one  farthest  to  the  right) 
is  always  on  “si,,  or  “seven”  of  the  scale. 

(5)  That  when  flats  are  used,  the  last  one,  (the  one  farthest  to  the  right)  is 
always  on  “fa”  or  “four”  of  the  scale. 

(6)  That  when  no  sharps  or  flats  are  used,  Do  is  always  on  the  third  space 
and  the  first  added  line  below. 

These  exercises  are  for  practice  in  holding  the  pitch  while  changing  the  syl- 
lable (Modulation). 

If  similar  drill  has  been  carried  on  successfully  from  the  Modulators,  the 
pupils  will  be  able  to  sing  the  exercises  through  without  hesitation. 

These  exercises  afford  an  opportunity  to  impress  again  upon  the  pupils* 
minds  that  Do  may  occur  on  any  staff  degree ; that  any  note  of  one  exercise  may 
be  taken  for  Do  of  another ; and  that  to  read  readily,  we  must  be  able  to  give 
the  tones  in  correct  relation  from  any  note  taken  for  Do. 

Perfect  familiarity  with  exercises  of  this  character  will  make  the  more  ad- 
vanced teaching  easily  understood. 


CHART  SERIES  C— No.  4— Reduced 


ilu*  n n i‘f-i  n 

in  n ucn  r 

T| 

/ h fe  J • 

• 

_ 1 *11 

1 r A * j j *1  mm 

4 W M J *1  -1  * J 

4f  f 1,  J • 

SA  ft-izr  * IldZi  0 * 

a 

0 0 is  itszi 

n. ^ w w tl 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 presents  a new  rhythmic  feature.  New  rhythms  should  be  taught  by  rote , and  the 
representation  shown  afterwards. 

When  iA  is  learned  by  rote,  unless  otherwise  directed,  allow  the  children  to  place  the  right 
hand  palm  down  upon  the  desk  before  them,  and  beat  with  one  finger  as  they  sing. 

The  finger  should  be  firmly  pressed  down  and  held  while  two  notes  are  sung,  then  raised 
slightly  and  pressed  down  again  for  the  second  two. 

The  teacher  cannot  be  too  exacting  in  requiring  that  the  finger  be  held  still  while  two  notes 
are  sung. 

The  steps  in  learning  rhythm  are  similar  in  all  respects  to  those  taken  in  learning  tone  effect: 

(1)  The  idea  of  the  rhythm,  presented  orally,  must  be  clearly  in  the  mind. 

(2)  The  physical  effect — or  the  beating — must  be  mastered. 

(3)  The  representation  should  be  shown. 

Here,  as  in  reading  simple  phrases,  the  whole  figure  (measure)  should  be  in  the  child’s  mind. 
He  must  recognize  it  as  a whole,  not  note  by  note.  Therefore,  when  taking  up  new  exercises,  time 
•should  be  allowed  for  “thinking”  the  rhythm,  and,  so  far  as  possible,  the  rendering  should  be 
with  expression  from  the  first. 

All  of  the  devices  suggested  for  teaching  phrases,  given  with  Chart  III.,  Series  A,  apply  here. 

When  A has  become  perfectly  familiar,  B should  be  presented  and  treated  in  the  same  manner, 
and  when  mastered,  it  should  be  combined  with  A,  and  practiced  until  the  pupils  can  pass  freely 
from  one  to  the  other,  keeping  the  beat.  Then  each  of  the  succeeding  forms  of  measure  should  be 
taken  up,  and  when  learned,  combined  with  .the  others. 

Daily  practice  on  these  forms  will  prove  a great  benefit.  The  teacher  should  indicate  which  is 
to  be  sung,  and  pass  freely  from  one  to  another  in  irregular  order,  while  the  children  keep  the  beat. 

The  exercise  may  be  varied  by  allowing  a child  to  point  while  the  class  sings;  by  calling  upon 
individuals  to  sing;  by  requiring  the  children  to  write  on  slate  or  blackboard  what  the  teacher  sings; 
By  calling  upon  individuals  to  point  out  the  measures,  as  the  teacher  sings  them  in  irregular  order. 

The  explanation  of  the  meter  signature  | may  well  come  in  here. 

Exs.  3 and  4 are  simple  applications  of  the  forms  of  measures  already  taught.  These  should 
be  followed  by  the  exercises  in  the  Primer  containing  this  rhythm. 

(For  practice  see  Primer,  pages  48,  49,  and  50.) 


CHART  SERIES  C— No.  5— Reduced 


33 


rfer  . 


W 


tm 


e# 


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Be  mer  • ci  • ful  and  kind  and  true,  and  do  what  - e'er  you  ought  to  do. 


^ - 

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m 

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DIRECTIONS  TO  ABOVE  CHART. 

Before  reaching  Chart  V it  is  presumed  that  the  scale  with  its  eight  tones 
is  perfectly  familiar.  It  is  now  proposed  to  introduce  one  by  one  the  remaining 
or  intervening  tones  till  the  full  chromatic  scale  has  been  presented. 

Sharp  four  (#4)  or  Fi  is  the  commonest  chromatic  tone.  Sol  Fi  Sol  (5  $4.  5) 
and  Do  S’  Do  (8  7 8)  sound  alike.  One  is  the  key  to  the  other.  Sing  Do  Si 
Do  (8  7 8)  and  Sol  Fi  Sol  (5  #4  5)  on  the  same  pitches,  and  the  matter  is  fixed. 
Show  the  representation  on  the  chart  and  proceed,  using  as  in  other  cases  the 
syllables  Loo,  La,  and  the  vowel  sounds. 

In  Ex.  2 the  study  is  of  the  contrast  between  Fi  and  Fa.  This  study  must 
be  very  carefully  taken,  and  not  left  till  the  exercise  can  be  easily  rendered. 

Ex.  5 is  for  practice  in  the  application  of  words  to  music.  Here  let  the 
Children  study  silently,  first  the  music,  then  the  words, then  combine  them  mentally, 
and  finally  try  to  apply  the  words  without  having  previously  sung  the  notes  aloud. 

Ex.  6 is  the  simplest  form  of  two-part  exercise. 

As  the  children  have  studied  these  or  similar  ones  on  the  previous  charts, 
fio  special  explanation  is  necessary. 


34 


CHART  SERIES  C — No.  6 — Reduced 


i 


1a 


0 o 


H. 


o o 


~ZL 


O O 


a 


fj'fj  ° °~n 


J2L 


h 


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O O & 


-Q—cr 


Q0  1mo°^ooco-9- 


4 


s 


2 I p b 

5#% 


fcdz 


h 


s _ 


fct 


J 1 D J J:lj  jn 


4 


4 


£dz 


S3 


3 


&33 


IN- 


DIRECTIONS TO  ABOVE  CHART. 

The  drill  (Ex.  i)  introduces  the  chromatic  tones  taught  on  the  previous 
page,  and  as  printed  is  intended  as  a suggestion.  The  teacher  will  be  able  to 
vary  the  exercise  by  taking  the  notes  in  a different  order. 

Ex.  2 is  a test  of  modulation. 

Ex.  3 is  for  vocal  drill,  and  for  further  practice  in  giving  two  notes  to  a beat. 
The  exercise  should  be  taught  by  lote,  and  when  sung  correctly,  tne  beating 
should  be  mastered,  after  which  the  attention  of  the  children  should  be  directed 
to  the  representation. 

Ex.  4 presents  some  of  the  varieties  of  three-part  measures. 

The  directions  given  for  a similar  exercise  on  page  4 apply  here. 

Remember  when  teaching  these  little  exercises,  that  they  are  typical  meas- 
ures ; that  each  is  to  be  so  impressed  on  the  mind  and  the  eye  that  the  sight  of 
the  same  form,  in  whatever  connection,  will  instantly  bring  to  mind  the  correct 
effect  — not  note  by  note,  but  as  a whole. 


CHART  SERIES  C— No.  7-Reduced 


35 


1 1 


M 


m 


1 4 ^ ESI  £=5 


M 


?? 


f#RFf= 

tf=f= 

f-hr 

. *y  / 

%g=T 

" f®"  ' 

■p“ 

V 

* J-1 

l±» 

_^L_  _ 

I 


fcfe 


f 


f 


SZI3 


And  'tis  my  faith  that  ey  • ’ry  flow*r  en  ■ joys  the  air  it  breathe. 


fefe 


/7N 


n- 


t 


ii 


l^ZTZKZl 


IS 


^ 7 ^ 2 g 6 


t 


22 


5 


2F 


DIRECTIONS  TO  ABOVE  CHART. 
The  directions  given  on  page  5 apply  here. 


36  CHART  SERIES  C— No.  8— Reduced 


f)-# — ^ 

gg0  g,  ° 

6 

-o 

c 

O 

_£ 



1 

° iff,  - 

m 


ii 


t± 


-0-0- 


-0-0- 


-o-o- 


v ^ * 1 H 


rf— - 

3r- 

"s r 

• 

1 

mi 

i 

■V-aP- 

M 

fits 

-0- 

— 

iM- 

-*■=*=* 

Ls- 

rP.b  o .i 

— KS— 

— 

T— 

II  P . b n 

phvT 

— r 

_tfL 

s 

ki 

§ 

mm 

± 

g 

MJl 

DIRECTIONS  TO  ABOVE  CHART. 

The  drill  (Ex.  i)  presents  the  chromatic  tone  of  the  previous  page. 

Ex.  2 gives  the  modulation. 

Ex.  3 is  intended  for  further  practice  in  singing  two  notes  to  a beat,  and  for 
vocal  drill. 

The  vocal  drill  exercises,  if  taken  properly,  will  cultivate  a free,  clear,  and 
rapid  enunciation,  a sense  of  rhythm,  and  the  habit  of  prompt  and  constant 
attention.  Such  exercises  should  be  practiced  with  a variety  of  syllables,  such 
as  La  and  Loo,  and  the  vowel  sounds. 

Exs.  5 and  6 present  a feature  of  the  highest  importance,  — the  eighth  rest. 
Rests  in  general  should  receive  as  little  attention  as  possible.  Teach  the  chil- 
dren to  concentrate  the  attention  on  the  notes.  Say  of  rests : “We  do  not  sing 
them.  They  are  like  the  zero  (o)  in  arithmetic  ; they  fill  unused  places.” 

But  in  No.  ii  we  have  a new  feature.  When  it  is  desired  to  shorten  the 

tones,  dots  may  be  placed  under  the  notes,  thus  : J J J ; or  a similar  effect  can 
be  produced  by  using  notes  of  a less  value,  and  placing  rests  after  them,  thus  : 
J'  1 ^ 1.  ]S[o  notice  should  be  taken  of  the  rests,  except  as  they  affect  the 

notes.  The  pause  between  the  notes  is  inappreciable  to  children,  and  no  attempt 
should  be  made  to  estimate  it  by  counting  the  rests. 

From  this  the  following  rule  is  derived  : 

A rest  of  less  than  one  beat’s  duration  simply  shortens  the  note  with  which 
it  is  associated. 


CHART  SERIES  C— No.  9— Reduced 


31 


P.boH-h 

?.bVT  1 

/ n I 

py'  0 a . 0 - 

. 0 i(  & □ a a 

• 

v 

“73 

4=: 

—Cl 

tfr^r^z  K K 

W Kl 

* * — 

Hi 

IS  Kl 

/ b h * - s H 

®Y 

rr 

dSt  ® JO, 

r rTT  m - 

m / 

r r * 

J 1 7 

-L-U-i — l 

Pan-sies  In  the  gar -den  grow.  With  their  fa-ces  all  a -glow. 


DIRECTIONS  TO  ABOVE  CHART. 


Exs.  1,  2,  and  3 present  a new  feature  in  the  use  of  the  natural  (ft)  to  pro- 
duce Fi  or  p\.. 

Do  not  attempt  to  explain  it.  Simply  say  that  this  character  is  called  a nat- 
ural, and  that  in  this  case  it  produces  the  effect  before  studied. 

Ex.  4 presents  the  use  of  the  rest  to  shorten  the  note. 


38  CHART  SERIES  C— No.  io— Reduced 


rf 1 

/ W 7 b * I* 

V 1 J m*  A 

*TrTXi 

y _r  if  ~ ~ 

• 

M7 * - 1 IT L _ H V 3 ^ W ^ , — 

•r  J « r 1 

l/f,bb  a°  J J-J  [ 

A *7* 

* 0 4 

rf — j 
/ / 

Lb  _j 

B 

y 1 0 tpz  u 0 1 

^ — -z_o-°°oo00 

— ^ & G O 

<9-1 

D 

fy  V h l n 0 a 

■Sk  - 0 0 o°  ^ 

" ' C/  /I  „ t/  _ 1 



DIRECTIONS  TO  ABOVE  CHART. 

Ex.  2 presents  a new  feature.  This  exercise  should  be  learned  by  rote  by 
the  children,  and  afterwards  practiced  with  the  different  syllables  (La,  Loo,  a,  oo, 
etc.)  When  learned,  teach  the  pupils  to  accent  strongly  the  first  and  fifth  notes. 
Then  beat  with  the  accent,  holding  the  finger  down  while  four  notes  are  given. 
The  exercise  is  to  be  repeated  many  times,  and  continued  as  daily  practice. 
Such  exercises  cultivate  the  voices,  give  a strong  sense  of  rhythm,  and  help  to 
enlarge  the  pupils’  ideas. 

Ex.  3 presents  various  forms  of  3-part  measure  in  two  representations,  g and 
1-  All  of  the  devices  mentioned  for  the  previous  meter  exercise  should  be  faith- 
fully applied  here. 

The  pupils  should  realize  that  the  different  kinds  of  notes  do  not  indicate 
the  rapidity  with  which  the  exercise  is  to  be  sung,  e.g. : Ex.  3. 

Ex.  4 contains  the  chromatic  tone  of  the  previous  page.  It  would  be  un- 
wise to  attempt  to  explain  the  representation,  especially  in  D.  When  these 
forms  become  familiar  by  use,  they  are  readily  recognized  and  rendered  after- 
wards. 


CHART  SERIES  C— No.  n— Reduced 


39 


rf — r 

1 

:=ll 

4* 

V 

jcL 

*•- 

rfifcr 

— y 

1— h 

-r— 

— 

F^l 

W=k=A 

3 

Atm- 

— z— 

07— - 

s 

E? 

K.-*A 

■73 — ar 

-]■  I 

J-*- 

~ 0 £ 

A 

— d 

z E. 

^y=: 

:U 

• 

Joy.  the  love  • ly  laugh -ing  spring. Brings  to  ev  'ry  liv-ing  thing. 

mS  5 


& 


m 


^=2z: 


~ZL 


22 


ZZ 


& 


77 


i & ■ 


^ 6^ 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  iA,  B reviews  sharp  four.  A is  the  key  to  B. 

Exs.  2 and  3 give  further  practice  on  the  same  idea. 

Ex.  4 should  be  studied  silently,  and  the  words  applied  to  the  music  on  the 
first  rendering. 

Ex.  6 presents  the  scale  beginning  on  La,  and  7 suggests  the  tone  drill 
which  is  to  de  expanded  by  the  teacher  and  practiced  from  the  scale. 


40 


CHART  SERIES  C— No.  12— Reduced 


rhrfi 

A 

L/ , 

HP 

^ Ip 

1 

g*  m 

A 

r r & 

J 

V 

| 

r 

V 

=F=E 

J 1 1 

* m 

-U-J 

M 

P 

rf— 

p.b;;—  - — 1 

B 

/ O / 

P 

Q 

•>  «j 



- ^ 

. V g 0,g> 

U U 


rf 

b 8 

D 

" “ “ qj 

/ V 

, , 0 ...  , „ . ^ y 

«/ 

g>  -- -I-g-g: u 

DIRECTIONS  TO  ABOVE  CHART, 

Ex.  1 is  a vocal  drill,  to  be  used  as  the  others  have  been.  It  represents  for 
the  first  time  the  divided  beat  in  four  part  measure. 

To  secure  proper  accents  in  a four  part  measure,  remember  that  the  secon- 
dary accent  corresponds  in  effect  to  the  secondary  accent  in  the  word  com  pro- 
mising. If  the  accents  in  a four  part  measure  are  made  to  correspond  with 
those  of  the  word,  the  effect  will  be  correct. 

Ex.  2 presents  various  forms  of  four  part  measures.  The  exercise  is  similar 
in  every  respect  to  those  that  have  preceded  it,  and  the  drill  should  be  conducted 
in  the  same  way.  See  pages  4 and  6. 

Ex.  4 gives  the  same  representation  of  #4  that  occurred  on  page  10. 
Should  the  children  fail  to  recognize  it,  refer  to  that  page,  and  compare. 


CHART  SERIES  C— No.  13— Reduced 


4* 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  iA  and  B gives  the  same  idea  in  two  representations. 

In  Ex.  2 #4  and  4 are  brought  into  strong  contrast  and  then  combined. 
The  first  two  measures  should  be  sung  with  a very  strong  accent  on  the  first  note 
in  the  measure  ; then  the  third  and  fourth  measures  should  be  sung  in  the  same 
way.  Accent  the  Sol  (5)  strongly,  sing  Fi  (#4)  very  lightly,  pass  to  Fa  (4)  giving 
it  a strong  accent,  and  then  take  the  other  measure  in  the  ordinary  way.  This 
exercise  and  the  reverse  of  it  (3  4 p\.  5)  should  be  practiced  daily. 

Ex.  4 and  5 are  two  representations  of  the  same  idea.  Master  the  idea, 
then  make  the  second  representation  familiar.  Sing  La  Fi  Sol  (6  ^4  5)  as  freely 
as  Re  Si  Do  (2  7 8.) 

Ex.  6A  and  B gives  a new  chromatic,  flat  seven  (j?7)*  Sing  Sol  Fa  Mi,  then 
loo,  loo,  loo  on  the  same  pitches ; when  the  tone  effect  is  fully  felt,  apply  the 
syllables  Do  Se  La  (Se  pronounced  Say).  Teachers  usually  find  more  difficulty 
in  establishing  this  tone  than  with  sharp  four  (#4),  but  a little  time  and  patience 
will  suffice  to  accomplish  the  result. 


42 


CHART  SERIES  C— No.  14— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  I Is  for  modulation.  The  class  should  use  the  syllables  loo,  la,  or  a 
vowel  sound  in  giving  this  exercise,  if  possible. 

Ex.  3 gives  both  of  the  chromatic  tones  already  presented. 

Ex.  4 presents  varieties  of  four  part  measures.  The  method  of  study  should 
be  like  that  used  for  similar  exercises  which  precede. 


43 


CHART  SERIES  C— No.  15-Reduced 


r 9 h- 

/ O A / 

g A 

/ Pel  J 

tJ  sy  • 1 

i(  Y-  ~ Veto  ^ CL 

c/ 

• *-  >4 

f)i±  ft  . 

2a  i 

QJ*  t 

t ■ 1 

i 

/ +V+fc  .4  I I 1 

ZL g g Tt  A ■■  1 , 

$ ft  & 

^ m 

^ J 

ts 

y 

it  s 1 

1 

)#Jr*  l — 1 

1 

— T— 4- 

R 

/ 14*  4+ 

1 

J 

* J 

□ J 

* 4 

J 0 

tt#. 

^ bd  J 1 

MJ  *£ 

<3?  ^ !i 

•f 

0 

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/ l p 

/ flv  9 

p A 

V 

/ g 4 

Is 

O 

II/''  \ O 

sr 

n 4+  # 

•j  v 

5 1 

/ TT  U.  <14  O 

p n 

u. 

/ .?  « & 

f 

s 

=* — n 

^ tl 

1 

- _ 

n 

IS 

•T 

-4—  - 

— Jl 

DIRECTIONS  TO  ABOVE  CHART. 

Exs.  1 and  2 are  for  further  study  of  #4. 

Ex.  4 presents  flat  seven,  next  to  #4  the  most  common  chromatic  tone. 
This  time  the  sign  for  flat  seven  is  the  natural  (tl).  It  is  entirely  unnecessary  to 
explain  why  it  is  sometimes  indicated  by  a flat  and  at  other  times  by  a natural ; 
simply  tell  the  children  that  it  indicates  Se  instead  of  Si,  and  proceed. 


44 


CHART  SERIES  C— No.  16— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  2 should  be. taught  by  rote,  and  particular  attention  given  to  the  proper 
placing  of  the  accent,  which  should  be  given  to  the  first  beat  only.  The  teacher 
should  insist  on  having  the  finger  held  down  while  four  notes  are  sung,  and  re- 
member that  the  exercise  is  to  be  taken  very  slowly. 

Ex.  4 gives  drill  on  the  varieties  of  three  part  measures.  The  teacher 
should  test  the  pupils  by  having  them  write  the  different  varieties  as  she  sings 
them. 


CHART  SERIES  C— No.  17— Reduced 


45 


- ) g ~ - 

-p-y 

» i A 

P.  * T 

Y~v 

\A*~k  >0 

r?  II 

«W=M: 

i— « 
^ € 

#2 Sp-- 

=J 

2a 

— 73 

/l 

1 

B 

=j=: 

— 75 — 

•» 

*=Y 

— 

crj( 

1 

& 

=^F  : 

$uF\=--  = 

— I- 

:=qi 

d)  - J 

ifyd-eLei: 

: J 

i 


m 


2Z 


zz: 


• 73  V 


2Z 


u ^ 0.a  o 


■o  n o 


J2L 


DIRECTIONS  TO  ABOVE  CHART.  % 

Ex.  3 introduces  a new  chromatic  tone  (#2) , and  Ex.  6 gives  the  scale  be- 
ginning on  La  (minor  scale) , with  practice  on  La,  Do,  and  Mi. 


46 


CHART  SERIES  C— No.  18— Reduced 


H-rr 

ff- 

"TT 

PVi 

a 

\ 

rffl 

fiM  Ji 

rftnrwM 

H4-* 

A 

JJJ 

3 

< 

z !*.„ 

— 

.-s— 

-NJJLJI 

rf j 

9 

c 

/ o / 

7 

(( ^ /r 

V 

\ 7 Z7v 

7 g>  ^ A O 

^ ^ ^ 

•j  — _• 

^ ^ ^ ^ CJ  CJ  ^ o o 

rd — 2 

c 

F 

/ ? ^ g £>  h|0  jo- g- 

FTP 

a-a--0^n-0 

V7 

«/ 

v ° ° o o 0 0 o.. 

0 

C 

3^ 

6:2^  c 
7^%= — 

h J # * *•= 

“j- 

jLA* 

F# 

-J- 

— ^ 

,9  ^ • 

4 J J 

-3 

V- 

J # 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  2,  the  vocal  drill,  presents  a new  feature  in  the  triplet.  Teach  by  rote 
as  before.  Accent  the  first  note  of  each  triplet,  yet  make  a difference  between 
the  first  and  the  second  half  of  the  measure. 

When  thoroughly  learned  by  rote,  show  the  representation. 

Ex.  4 gives  a review  of  two  part  measure,  and  shows  in  parallel  lines  two 
representations  of  the  same  idea. 


CHART  SERIES  C— No.  19— Reduced 


47 


rPiho-T-zrr 

75“”" 

^ 

> | vji 

g-r~ 

g>~.  1 

_ CJ 

_ 

G 

nJZJL 

/ 4 k r 

nSZZTSZZZEI 

ZS  \ 

llJTLfLTi 

n 

& 

JU 

U7  *>  1 « 

~ * 

L 

J L_ 

...  f\  Ht  2a  ( 

1 

8 

. r 1 

ru+ 3 

: ) 4+*  9 

r 

^ II  l/*o  , | 

WT 

l/*o 

i ^ 1 

O 1 

^ 11 /I 

ft  ^ ffZTTi: 

a L 

'l  fa  ^ 414?  I ^ l 

fJ 

<r> 

r 

[ 

! r 

IlfdA  O 1 

1 r 

r 

t/ 

1 

l!v7  4 

r~t 

HE 

J7  fa 

rt 

1 1 

1 

& 

1, 

4aj 

f 

I | 

r 

n j* 

1 i 

ir  1 

n +t  5 

1 r 

1 

1 • 

K+Vtf  9- 

£□ 

r 11 

7^91  r 

IT 

L/  3+o 

1 

J 

1 

l/T  C L(C  J 

rn 

i! . 

4 4 J . 1 

1 4 

1 

/J 

[PVT1 l+Q  ^ O 

1 ^ II i<T\ 

HltntQ/ 

d 

^ S! 

lUi IS 

07  & J L 

17_..fa..K  O 

w? 

Cl 

O 

rf%n 

1 — h — 

r+T 

otf. : 

H— tr 

- ^ 

p— 

/fa 

P 

p)  Q s: 

O’ 

4^ 

/7®  4' 

V Vo 

a$o 

P 

W 4 g 

•/ 

■ 0 

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^<oL 

9f 

4* 

\Jr 

G 

B 

/ £ cj  a 

pi  n 0 0 

g u 0 ^ 

~ O O ~ ~ <9- <9  ■— 6>-— -» 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 gives  practice  on  sharp  four.  iA  should  be  mastered  and  sung  with 
la  or  loo,  freely,  then  iB  should  be  sung  with  loo,  the  representation  explained, 
and  the  proper  syllables  applied. 

Ex.  8 gives  practice  in  the  minor.  This  should  be  made  very  familiar  by 
frequent  use. 


CHART  SERIES  C— No.  20— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 gives  further  practice  in  modulation.  The  exercise  should  be  repeated 
until  the  transition  is  made  without  hesitation. 

Ex.  2 is  a vocal  drill.  It  should  be  used  also  for  practice  in  singing  four 
notes  to  a beat. 

(1}  Teach  the  exercise  by  rote,  and  practice  it  first  for  fluency,  clearness, 
and  rapid  enunciation. 

(2)  Present  the  representation. 

(3)  Practice  the  beating  with  proper  accent. 


CHART  SERIES  C— No.  21— Reduced 


49 


A 

1 

p 

1 / 

-7— 31 

Lj- 

'-0  ^ 

■p  1,  a 3> 

J 

ir0 

■ h L-ii> 

c)'o  11 

fa 

1 



L 

fa 

-t 

4 a 

y- -ZJ-v-l 

A-2tr= 

H 0:b- 
tt  /tin: 



•.  "i 

zfap  -p 

-^=ST 

e 

O fa/ 

— B 

V 

0 n 

"-■Pgl — 

«r 

-2-1 -f 

lit 

^ Cj 

z-=Mi 

•> 

LlL8-j- 

t!<J  ■ » 

Z7  

~o 

1 

y 

g>  ^ " 

-LL. 

- a a 

- gJl 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 A and  B,  gives  another  representation  of  sharp  four.  Sing  iA, 
with  the  syllable  loo,  and  when  it  is  perfectly  rendered,  sing  B with  the  same 
syllable  ; after  which  apply  the  syllables  given  below  the  notes,  and  impress  the 
tone  Fi  upon  the  memory. 

Exs.  2 and  3 should  be  practiced  in  the  same  manner. 

Ex.  4A  and  B presents  the  new  tone,  flat  seven.  A is  the  key  to  B. 
Dwell  upon  the  exercise  until  flat  seven  becomes  perfectly  familiar,  and  the 
proper  syllable  is  readily  applied  to  it. 

Ex.  8 A is  the  normal  minor  scale.  Practice  it  until  learned  and  study~ 
the  tone  effects  suggested  by  B. 


50 


CHART  SERIES  C— No.  22— Reduced 


m 


fed 


v + o & o_o#>  *■"  * ZZ=^L 


iT°  $0  O 0 #0 


Z2.  /?  g> 


TV 

TV 

— 1 

V 

4J 

:~o A 

o—e-L 

-2-e 

4J 

zzL 



0 0 

F 

— 7] 

O h/i 

k 

•i 

-J- 

-is- 

44 

O 

O 

Q-O 

'AlAl. 

4^ 

r frs  tt 

/Tv 

/3~  " 

" n P 

Tv 

-,s> 

Tv 

gL 

. 0 Q- 

d 

-^-3= 

^ O 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  I presents  all  of  the  chromatic  tones  taken  from  above,  with  the  ascend- 
ing scale.  This  exercise  should  become  perfectly  familar,  and  be  a part  of  the 
daily  practice. 

Ex.  2 is  a choral  melody,  bringing  in  sharp  four  and  flat  seven  as  most  fre- 
quently found  in  simple  music. 

Similar  exercises  should  now  be  sung  freely  at  sight  from  the  book. 


CHART  SERIES  D— No.  I— Reduced 


51 


fl— 1 


6 


ZZ 


64 


^ 0 & o o -&- 


~7T 


- 9 g , - 

O X 

6----^  ° €f  00 

fo°0t,<>/;6 


2Z 


zz 


^-rrrr-^ tt?7 


64 


a>  o o n 


t)°  0 0 o\y-o-^ 


tt*- 


O-Q-Q-O- 


DIRECTIONS  TO  ABOVE  CHART. 

The  art  of  teaching  music  is  based  upon  precisely  the  same  principles  that 
govern  the  teaching  of  reading.  Any  teacher  who  can  teach  a class  of  children 
to  read  the  primer  can,  by  a similar  process,  teach  them  to  read  this  chart. 

( 1 ) Teach  the  scale  by  rote  as  a melody,  and  when  it  is  perfectly  learned, 
show  the  representation  of  it  upon  Modulator  No.  1. 

( 2 ) Teach  the  children  to  connect  each  tone  of  the  scale  with  the  note  which 
represents  it,  by  moving  the  pointer  up  and  down  the  scale  while  the  children  sing. 

( 3 ) -As  soon  as  the  order  of  the  tones  is  fixed,  and  the  children’s  voices  follow 
the  pointer  readily,  move  to  scale  (2  ).  Sing  Do , Re  ; hold  Re  ; change  e to  o 
and  then  o to  Do,  still  holding  the  same  pitch.  This  gives  Do  of  the  new  scale. 

(4)  Sing  the  new  scale  as  the  first  was  sung,  and  when  familiar  pass  to 
No.  3.  Sing  Do,  Re,  Mi ; bold  Mi ; change  e to  o and  o to  Do,  holding  the 
same  pitch.  This  gives  Do  of  the  new  scale. 

.(  5 ) As  soon  as  the  new  scale  becomes  familiar,  pass  to  the  next,  and  so 
continue  till  all  have  been  sung  and  the  children  have  gained  : ( 1 ) the  power  to 
sing  the  scale  freely  up  and  down  from  the  staff ; ( 2 ) the  ability  to  hold  the 
tone  and  change  the  syllable;  (3)  the  knowledge  that  the  scale  may  begin  on 
any  staff  degree,  and  that  the  tones  follow  in  the  same  order  and  relation  from 
Do,  wherever  placed ; that  each  tone  derives  its  effect  from  its  relation  to  other 
tones  and  not  from  the  position  of  the  note  on  the  staff. 

(Do  not  attempt  to  explain  the  staff,  clef,  signatures,  or  notes.) 


52 


CHART  SERIES  D— No.  2— Reduced 


fz  0 — 1 n 1 

B 

____  c 

“ n 

/ h & . J A 

®tl  i 

w w ^ ^ «H  _ 

m d ^ A 

A 

v ^ v v — D 

rff n 

1 

E 

1 ^-1 

— r~~h 

d 

F 

—1- 

rf^Tn 

“1 

/ vb 

J 

J J 

L<y.  ^ - 

d J 

L 

J J 

J 

—HP 

_ui 

9 

M 

f i 

U 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  I presents  a new  rhythmic  feature.  New  rhythms  should  be  taught  by  rote , and  the 
representation  shown  afterwards. 

When  1 A is  learned  by  rote,  unless  otherwise  directed,  allow  the  children  to  place  the  right 
hand  palm  down  upon  the  desk  before  them,  and  beat  with  one  finger  as  they  sing. 

The  finger  should  be  firmly  pressed  down  and  held  while  two  notes  are  sung,  then  raised 
slightly  and  pressed  down  again  for  the  second  two. 

The  teacher  cannot  be  too  exacting  in  requiring  that  the  finger  be  held  still  while  two  notes 
are  sung. 

The  steps  in  learning  rhythm  are  similar  in  all  respects  to  those  taken  in  learning  tone  effect: 

(1)  The  idea  of  the  rhythm,  presented  orally,  must  be  clearly  in  the  mind. 

(2)  The  physical  effect — or  the  beating — must  be  mastered. 

(3)  The  representation  should  be  shown. 

Here,  as  in  reading  simple  phrases,  the  whole  figure  (measure)  should  be  in  the  child’s  mind. 
He  must  recognize  it  as  a whole,  not  note  by  note.  Therefore,  when  taking  up  new  exercises,  time 
should  be  allowed  for  “thinking”  the  rhythm,  and,  so  far  as  possible,  the  rendering  should  be 
with  expression  from  the  first. 

All  of  the  devices  suggested  for  teaching  phrases,  given  with  Chart  III.,. Series  A,  apply  here. 

When  A has  become  perfectly  familiar,  B should  be  presented  and  treated  in  the  same  manner, 
and  when  mastered,  it  should  be  combined  with  A,  and  practiced  until  the  pupils  can  pass  freely 
from  one  to  the  other,  keeping  the  beat.  Then  each  of  the  succeeding  forms  of  measure  should  be 
taken  up,  and  when  learned,  combined  with  the  others. 

Daily  practice  on  these  forms  will  prove  a great  benefit.  The  teacher  should  indicate  which  is 
to  be  sung,  and  pass  freely  from  one  to  another  in  irregular  order,  while  the  children  keep  the  beat. 

The  exercise  may  be  varied  by  allowing  a child  to  point  while  the  class  sings;  by  calling  upon 
individuals  to  sing;  by  requiring  the  children  to  write  on  slate  or  blackboard  what  the  teacher  sings; 
by  calling  upon  individuals  to  point  out  the  measures,  as  the  teacher  sings  them  in  irregular  order. 

The  explanation  of  the  meter  signature  | may  well  come  in  here. 

Exs.  3 and  4 are  simple  applications  of  the  forms  of  measures  already  taught.  These  should 
be  followed  by  the  exercises  in  the  Primer  containing  this  rhythm. 

(For  practice  see  Primer,  pages  48,  49,  and  5®.) 


CHART  SERIES  D— No.  3— Reduced 


53 


ry—n 

rn 

n 

1 

, 

1 1 

1 — 1 

r 

iO  iO  & 

A 6 O \ 

td 

□ 

1 



Wa 

rftiYni 

1 1 

1 ^ 0 

1 

=j 

t 

1 

u 

m 

) 

urjRi 

td 

1 1 

_ 

-/s 

P 

td 

P 

13 

JL _ Q-/3 

^9-  -O-  u -O- 


/ 

/ 

€2. a a C2 CJ Q. Q. C2 C2 C2 « a a O 

E 

\ ^ ^ CJ  a n n ^ ^ ^ 

> 00  ZHD.  0 ej 

•j 


=d=F 

-i— P- 

V 

-■AlJ  • v 

J * Jv 

-J- 

r^o- h m 

— n 11 8n rTi 

n ni  hi 

/ 6 

j j j 

TT\  7TZ.  . ^ 

m 0 * « • r. 

w:  4 * * • 

# # # 

— hi 

H 

1 — d 

l — 

p 

id 

EHhr- ^ 

1 1 

1 hi 

— 

A * . 

td 

• 

Q 

Wa 

& 

1 

j 

iA\  & L 

» J 

j ^ 

M 

Id 

\ A - 



m 

** 

w j 

rks 

wr 

— 

-m 

• 

Lw. 

- kJ 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 should  be  given  with  strong  accents  on  the  first  note  of  each  measure. 
Repeat  until  perfectly  rendered. 

Ex.  2 is  a tone  drill.  If  the  pupils  are  unfamiliar  with  the  representation 
it  may  be  necessary  to  pass  over  the  intervening  tones  of  the  scale  till  the  one  to 
be  learned  is  reached,  then  dwelling  upon  the  two  tones  to  be  associated  take 
them  again  and  again  till  they  are  fixed  on  the  pupils’  memory. 

The  tone  drills  are  given  as  a suggestion  to  the  teacher ; other  combinations 
should  be  practiced  from  the  scale. 

Ex.  3 reviews  some  of  the  varieties  of  two  part  measures.  If  the  rhythm 
is  unfamiliar,  teach  the  exercise  by  rote  before  showing  the  chart.  When  3B  is 
sung  freely  by  imitation,  accent  the  first  and  third  notes,  then  allow  the  pupils  to 
beat  with  the  accents,  thus  getting  them  to  sing  two  notes  to  a beat.  Proceed 
with  3C  in  the  same  manner,  and  when  B and  C can  be  done  separately,  combine 
them,  by  pointing  first  to  one,  then  to  the  other,  until  the  class  can  sing  the  entire 
exercise  in  any  order,  passing  from  one  to  another  without  hesitation  as  the 
teacher  points. 

Ex.  4A,  B and  C,  develops  for  the  first  time  the  unevenly  divided  beat.  When 
A is  sung  perfectly,  pass  to  B.  Be  shou!3^J5e  given  as  indicated  by  the  letters 
under  the  notes  — which  gives  the  effect  of  the  dotted  note  represented  in  C. 
When  B is  learned  the  pupils  will  experience  no  difficulty  with  C. 

Ex.  5 is  for  practice  upon  the  new  idea.  When  this  is  mastered,  exercises 
in  Music  Reader  No.  2,  which  involve  the  dotted  note,  should  be  studied. 


54 


CHART  SERIES  D— No.  4-Reduced 


P. 


m r i m I- 


m 


* ^ 
Qa. 


£ 


3 


is 


3t= 


if — r 

iVto 

4^ — 4 

-^—-2 

\ 

PT3= 

45= 

¥- 37^ 

-L5M- 

y *3^ 

Y-^-o 

w 

-O- 

X,J  Ypf g 1 II  111 2 I ■ 11/  1 1 Fff 

)2^  1^ ) 2 J I ^ 


6a 


8a 


3 


y"  lyjf  fl  **lg>g ^ Y 1 - 


DIRECTIONS  TO  ABOVE  CHART. 

The  study  of  chromatic  tones  begins  by  reviewing  sharp  four  and  flat  seven. 
In  each  case  the  key  to  the  difficulty  is  given  before  the  difficulty.  It  should  be 
borne  in  mind  that  the  representation  may  vary,  but  that  the  tone  effect  remains 
the  same,  and  that  on  this  chart  are  presented  simply  different  ways  of  express- 
ing the  same  idea.  There  is  no  difficulty  in  intonation,  therefore,  for  whoever 
can  sing  La  Si  Do  can  sing  Mi  Fi  Sol.  The  power  comes  from  having  clearly 
in  mind  the  effect  of  La  Si  Do,  then  of  knowing  that  Mi  Fi  Sol  gives  the  same 
effect,  and  from  practicing  until  one  representation  is  as  familiar  as  the  other. 


CHART  SERIES  D-No.  5— Reduced  55 


DIRECTIONS  TO  ABOVE  CHART. 

It  is  essential  to  rapid  reading  that  the  pupil  should  recognize  the  rhythms 
at  sight.  Each  form  of  measure  should  become  so  familiar  that  the  instant  the 
eye  rests  upon  it  the  effect  becomes  present  to  the  mind.  The  rhythmic  drill 
charts  are  intended  for  daily  practice.  The  teacher  should  establish  the  feeling 
•of  the  rhythm  by  singing  some  simple  form  of  measure  until  the  accent  is  felt 
by  the  class  and  they  are  able  to  keep  the  time  steadily. 

When  the  feeling  is  fully  established  the  teacher  steps  to  the  chart,  and 
moving*  the  pointer  from  measure  to  measure,  conducts  the  class  through  all  of 
the  exercises,  pausing  at  first  upon  any  measure  that  gives  trouble,  and  devel- 
oping those  that  are  new.  Before  the  exercise  closes  the  class  should  be  able  to 
move  from  exercise  to  exercise  without  pause,  in  any  order  the  teacher  may 
select. 

For  practice,  see  First  Reader,  pages  15,  49,  53,  83,  85,  96,  and  97. 


56  CHART  SERIES  D— No.  6— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  i gives  further  practice  in  modulation.  Ex.  zA,  B,  gives  another  rep- 
resentation of  flat  seven.  A is  the  key  to  B.  Ex.  3 A,  B,  combines  the  previous 
ideas.  A is  the  key  to  B.  Ex.  4 is  for  practice  upon  flat  seven.  Ex.  5 presents 
the  Normal  Minor  Scale,  and  Ex.  6A,  B,  suggests  the  tone  effects  to  be  prac- 
ticed from  the  scale,  and  then  from  the  exercise  itself. 

Children  may  be  required  to  write  the  scale  exercises  from  memory. 


CHART  SERIES  D— No.  7— Reduced 


1 P o-  1 

~ ' ■_  1 t-rfr  1 

— h 1 — , — .j 

/ m ^ 

ft  h A / h 

J 2 

Lt  

rr  Z7 rnr w 

• LTJ  “ 

KJ1*  1 1 \ J 

ft?  i 

n 2 

| 

n +t 

/ 0 

_ rSr: 

1 «_ 

/ fy.m.  / j 

VTA  a 

- m'-~  & <r 

* * tf<i  • U ® 

9 & ^ 

ft? 

n 4+  3a 

4r — — * — -4+T  1 y ^ 

|—  B 

. r— 1 

/ 9 

/ 4 ^ 

0 9 & J U L_ 

r „ j a j • 1 

if. » 0 - r _ v e • j j 

— 0 A ‘ . 1 . 

rz^-1-  F=q te  n-  V- 

K — — ^ K — — — 

/r*- 

J7^  0 - M - 

& 0 0 0 d • J e 

d W * M .... 

V7  O # 0 + 

s — 1 — -v.  _ w* 

9 

'ft  +fc  4 

- . - ^ .. 

...  / £ o . ^ k 

...  s _ V IS  K 

s P K V ^ V 

/ & s 

P S s 

& > R * 

: ns s h“ 

H ^ 

s y_c? :?  3 < 

t ir..>  i#»-  jHJ-j 

p—  3 —-ftF 

DIRECTIONS  TO  ABOVE  CHART. 

Exs.  I and  2 are  for  further  practice  in  modulation.  The  chromatic  tone 
introduced  should  now  be  familiar  to  the  pupils. 

Ex.  3 gives  the  development  of  the  dotted  note  in  2-8  meter.  The  method 
of  conducting  the  exercise  is  described  on  page  4. 

Each  lesson  should  be  followed  by  a dictation  exercise,  in  which  the  chil- 
dren should  be  required  to  write  the  forms  just  learned,  first  from  memory,  then 
from  dictation. 


CHART  SERIES  D— No.  8— Reduced 


1 D tLkO  3 3 

3 

" ' " ' B 

3 

==f=T 

1 — [- 

✓ * - - 

J 1 

i r*  t 

1 

SC 

J J 

1 

IU  4 

1 0 1 # y 

4 0 

r i 

'T  J J.  «l 

— f — i 

» JJ#  w WW 

3 , 

r 

3 ** L 

jP3 

A.  $ ^ 

u,  4P 

n 

ufa  0 0 

0 _ 

r Pr 

r 

J 

IKU  r 1 

0 

f)  U 2a 

i , 

L 1 

j 

B 

K 

W 0 

| / ) O 1 

n . k 

h ^ II 

1/  7 . ti 

4 J 

■ *11  K 

J ~r 

H d ! 

0 s ^ 

41 

' J > " f 

0 / 

/ 

^ ' ® 

Iw  4 - 0 

0 

II 

9 

d 

u 

w 

n L c 

* 

~0 L_ 

D 

y v 

n — rs 

IT 

■^1  II 

\A  1 k 

d*  0 1 A J 

j r Jr# 

J ... 

•1 

m m 

r i i w < 

® 1 | 

1 • 

j j & 

V IF 

.o  •] 

U/ 

0 w 

i 0 

J ^ 

\ S 0 

rj  ^ # ii 

_ n k E 

W 0 w 

**  K F . 

1 !/  . i)  , 

jj  r r— , 

) | 

1 , 

n n 

/ ..  h . 

I 

J J 7 I 7 1 

i i 

1 P 

» 1 

r 

- 4 

9 ® / & / J 

• 

- -J- 

F d~ 

* 

¥ — < 

)-■  d f— 

...d  .1  J i 

W 0 

W4WZ 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  I reviews  the  sharped  tones  from  above  and  the  use  of  the  triplet 

The  names  of  the  sharped  tones  are  given  below,  so  that  those  who  have 
not  learned  them  before  may  take  this  opportunity. 

The  first  note  of  the  triplet  should  be  slightly  accented. 

Ex.  2 reviews  the  varieties  of  three  part  measure.  Each  section  of  the 
exercise  should  be  studied  by  itself  and  then  combined  with  the  other  parts. 

The  teacher  should  continue  the  exercise  till  the  pupils  can  pass  freely  from 
section  to  section  in  any  order  without  hesitation. 

Such  exercises  as  this  are  intended  to  fix  the  appearance  and  the  effect  of  each 
-variety  of  measure  in  the  pupils’  mind  so  firmly  that  the  sight  of  the  measure 
instantly  suggests  the  rhythmic  effect,  and  the  sound  of  the  measure  instantly 
suggests  the  representation.  The  teacher  should  therefore  require  the  pupils  to 
write  such  rhythms  from  dictation,  as  well  as  to  sing  them  at  sight. 


59 


CHART  SERIES  D— No.  9— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  2A,  B,  presents  again  the  development  of  the  dotted  note,  and  intro- 
duces Ex.  3A,  B,  and  4A,  B,  — which  present  a principle  of  the  very  highest 
importance.  When  3A  is  sung  correctly,-  the  attention  of  the  pupils  should  be 
directed  to  3B,  and  the  fact  brought  out  that  the  rests  take  the  place  of  the  dots, 
and  simply  indicate  that  the  tone  is  to  be  short.  The  parallel  in  rhythm  is 
placed  here  to  show  that  the  kind  of  notes  used  has  no  effect  on  the  speed  or 
tempo  of  the  exercise,  as  3 and  4 should  be  sung  at  the  same  rate,  and  one  is  no 
more  difficult  than  the  other. 

Require  the  children  to  write  these  rhythmic  exercises  from  memory. 


6o 


CHART  SERIES  D-No.  io— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

This  page  is  devoted  to  the  development  of  the  dotted  note  in  4-4  meter, 
and  to  a further  use  of  the  rest  to  indicate  a short  tone.  Practice  as  before. 

When  these  forms  are  familiar,  the  children  should  be  required  to  write 
them  from  dictation. 


CH 

ART  S 

=3= 

iRIES  D — No.  11— 

B=S3=; 

-Reduced 

6r 

t — 

jp  Jr.  ip 



J J J 

D 

& 

^7  ^ ^ " 

— a- 

- I 

Jr\—  8 =4- 

• r*  K ^ —Hi 

2k/...  vJ  , J 

9 a ~ 

1 j 4?  ^ 

^ a J II 

- «r  w 9 — v 

£ ± 

#"•  * — 

«-#)  i!  . 11 

‘f 

r 

-J 

— r~~  g — 

E . . 

. r ^ my  j — ht-t- 

— y_J — J_<0  9 

1 7 <gk  — -/ — 

a — 1 f— 

v 9 • » w jp 9 9 S* 

-Art  . 3< • .. 

-/txs 

**—3 — »*»•  1 

s-ea  . _ 

<rir 

W ^~a 

=s= 

Issm-Ot 

it  3== 

H Efzrf?1 

HHt.  „ c — 

g’-sy  # < 

D 

8 

- — Nh-h — &- 

N— ^ h 

v— 

^*8  j f-SL 

p #>  $p- 

■3-‘  1 J. 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  i piesents  the  divided  beat  in  3-8  meter. 

Ex*  2A>  B>  C develops  the  use  of  the  dotted  note  in  3-8  meter,  and  illus- 
trates the  use  of  the  rest  to  indicate  a short  tone. 

,E„X-  3 gives  the  same  illustrations  in  6-8  meter.  Be  careful  to  distinguish 

the  6-8  from  the  3-8  meter  by  proper  accents.  8 

The  children  should  be  required  to  write  the  rhythms  on  slate  or  paper 
from  dictation.  Attention  should  be  called  to  the  names  of  the  musical  char- 
acters, kinds  of  notes  used,  and  the  proper  manner  of  making  the  clef. 


62 


CHART  SERIES  D— No.  12— Reduced 


fcr± 


sa 


i g 0 g « ^ 


ZZ 


g ZJ  <9 


ZT 


££ 


g g> 


* g g vz 


77  " ~ /7~ 


HL 


O O 


~d  ** zr~& 


zrzr 


>— H-2 

— — 

p L 0 ■: — 1 

=i== 

— 7m 

— 7] — 

fc 

V 

F*- 

u. 

=M 

-^0-< 

V 

-y 

S' 

"4^ 

C/ .... 

75 

/O  -» ^ 

Z^T=^ 

hj  1 

Z>  iO 

77" 

l<W=1=i 

±4^ 

-*-< 

W=N 

±=N 

rfn  7 I 
^v¥=F: 

Z?b|g 

:=t=t 

7^ 

PBf  bl*  -75- 

— \ 
]-0JL 

9% 

-As- 

y_ij 

CHART  SERIES  E— No.  1— Reduced  63 

f)  1 

t~ 

/ 

r y 

CJ  CJ 

rf? 

|\^ 

) a 0 ^ ^ a 0 

« 

n 

~ O - 

DU2 

■ 

/ 

/ P 

Ti 

a / 

i 72TT  n CJ 

Hi 

^ V 

7 0 u cj 

1 k 

J 0 v ~ ^ a 0 

« 

> 

h 

Hr-S 1 

H 

11' 

/ 0 * 0 / 

Ti 

1 ^ L O O & CJ  CJ  & 

t(\  0 it 

\v  n 

rri 

ft  %CJ  & %CJ  fj  %CJ 

7 1 

ks 

K 

1 :..i_ ' M— 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  i is  the  major  scale.  It  begins  and  ends  on  Do,  and  contains  no  chro- 
matic tone. 

Ex.  2 is  the  normal  minor  scale.  It  begins  and  ends  on  La,  and  also  con- 
tains no  chromatic  tone. 

Ex.  3 presents  the  chromatic  tone  which  appears  in  the  next  scale.  The 
tone  is  called  Ti,  and  the  effect  is  shown  by  comparing  it  with  Si,  in  3A. 

Ex.  4 presents  the  chromatic  Ti  in  connection  with  Fa.  Sing  La,  Ti,  La 
(6  #5  6),  then  La,  Fa,  La  (646),  until  Fa  and  La  are  fixed  in  the  mind. 
Then  sing  La  strongly,  and  touching  Ti  very  lightly  drop  to  Fa.  By  repeating 
this  many  times  the  pupils  become  accustomed  to  the  new  tone. 

Ex.  5 is  the  scale,  beginning  and  ending  on  La,  with  one  chromatic  tone, 
Ti  or  sharp  five.  This  scale  is  called  the  Harmonic  Minor  scale. 

Ex.  6 is  also  the  Harmonic  Minor  scale. 

The  time  spent  on  the  Modulators  must  depend  upon  the  ability  of  the 
class  — but  it  is  not  expected  in  any  case  that  all  that  is  to  be  accomplished  by 
them  should  be  finished  before  going  on.  The  Modulators  are  for  daily  prac« 
tice  and  for  reference ; and  exercises  from  them  should  form  a part  of  every 
lesson. 


64 


CHART  SERIES  E— No.  2— Reduced 


A 1A 

— r* 

B 

1 — PH — p 

c 

: _ “ru 

/ h & 

► j 

• 

1 •H 

v v'T 

d - « 

ft 

Q 

L 

_ • ^ ^ 

M\..W  « (J  * 1 

. 0 0 

~ ~ j|  # TLJr 

9 W 1 

V 


1 fr  ° . 

E 

-FW- 

F 

-f=\- 1 g 

1/  h 

. rr  r zzt~ 

J *8 

Ik  Y . m 

0 d A *1 

Ik  2 #_ •_ 

SL0  «L 0 1 — 

0 -.1 

P , — ■ r-h 

i~ f i n if — r 

1|  T -rv 

_____ 

J J . • 

qr'H~  «g  .-Li 

17  TF  j —$r 

f'  0 ® M 4 

W + 9 M - 

9 £ W 

w 

ja  * * 1 aJ 

0 

/,  6 1— 1 

1 1 r — 1 k.  ^ 

h g fr 

ja*.  „ 

f r J / j,  t t 

W / J / • 

* a 

* * a ei  B 

vf»  \ -rji 

frB 

Po4.  1 

/ 9 a 

? 0 

04V  i * 

|J  J J1. 

+4 

■a  4 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 presents  a new  rhythmic  feature.  New  rhythms  should  be  taught  by  rote , and  the 
representation  shown  afterwards. 

When  iA  is  learned  by  rote,  unless  otherwise  directed,  allow  the  children  to  place  the  right 
hand  palm  down  upon  the  desk  before  them,  and  beat  with  one  finger  as  they  sing. 

The  finger  should  be  firmly  pressed  down  and  held  while  two  notes  are  sung,  then  raised 
slightly  and  pressed  down  again  for  the  second  two. 

The  teacher  cannot  be  too  exacting  in  requiring  that  the  finger  be  held  still  while  two  notes 
are  sung. 

The  steps  in  learning  rhythm  are  similar  in  all  respects  to  those  taken  in  learning  tone  effect: 

(1)  The  idea  of  the  rhythm,  presented  orally,  must  be  clearly  in  the  mind. 

(2)  The  physical  effect — or  the  beating — must  be  mastered. 

(3)  The  representation  should  be  shown. 

Here,  as  in  reading  simple  phrases,  the  whole  figure  (measure)  should  be  in  the  child’s  mind. 
He  must  recognize  it  as  a whole,  not  note  by  note.  Therefore,  when  taking  up  new  exercises,  time 
should  be  allowed  for  “thinking”  the  rhythm,  and,  so  far  as  possible,  the  rendering  should  be 
with  expression  from  the  first. 

All  of  the  devices  suggested  for  teaching  phrases,  given  with  Chart  III  , Series  A,  apply  here. 

When  A has  become  perfectly  familiar,  B should  be  presented  and  treated  in  the  same  manner, 
and  when  mastered,  it  should  be  combined  with  A,  and  practiced  until  the  pupils  can  pass  freely 
from  one  to  the  other,  keeping  the  beat.  Then  each  of  the  succeeding  forms  of  measure  should  be 
taken  up,  and  when  learned,  combined  with  the  others. 

Daily  practice  on  these  forms  will  prove  a great  benefit.  The  teacher  should  indicate  which  is 
to  be  sung,  and  pass  freely  from  one  to  another  in  irregular  order,  while  the  children  keep  the  beat. 

The  exercise  may  be  varied  by  allowing  a child  to  point  while  the  class  sings;  by  calling  upon 
individuals  to  sing;  by  requiring  the  children  to  write  on  slate  or  blackboard  what  the  teacher  sings; 
by  calling  upon  individuals  to  point  out  the  measures,  as  the  teacher  sings  them  in  irregular  order. 

The  explanation  of  the  meter  signature  | may  well  come  in  here. 

Exs.  3 and  4 are  simple  applications  of  the  forms  of  measures  already  taught.  These  should 
be  followed  by  the  exercises  in  the  Primer  containing  this  rhythm. 

(For  practice  see  Primer,  pages  48,  49,  and  50.) 


CHART  SERIES  E— No.  3— Reduced 


65 


0 ==  — 

r±± 


17 


o o 


O o o o u-o  o o o~° 


00 


" tJ  00ff  O O 


n. 


.0  V o o & cP? 

— o—o 0—0- 


00 


n o~Q- 


o-o- 


) o o 00  00  V O- 


O o g ^ 


o-o- 


00 


1717 


fa  o 00  — o-*2- 

Sk  00  00  — 


otzl 


O-O- 


0-0 


0-0- 


0-0- 


0-0- 


J2U2L 


mz7 


1 1 uu^ 


DIRECTIONS  TO  ABOVE  CHART. 

The  exercise  above  is  for  tone  drill.  Each  tone  of  the  scale  is  studied  in 
turn  and  its  relation  to  Do  established.  This,  like  the  Modulators,  is  for  daily 
use. 

The  teacher  should  conduct  the  exercise,  pointer  in  hand,  using  the  pitch 
pipe  at  every  return  to  Do,  to  be  sure  that  the  pupils  keep  up  to  the  pitch. 
Move  the  pointer  verv  slowly,  and  dwell  upon  the  tones  until  the  effect  is  fully 
established* 


66 


CHART  SERIES  E— No.  4-Reduced 


■ p 0 - --1 

-1— hr- 

r-f#- 

+1-I— r 

/ - a / r 1 

V To 

^ S'  ^ 

/A  ^ 

^ 67 

<7 

*■  11 

0 

C/  B 

l/ 

2 

QJ+ 

/ 0 

I 

7^ 

/ +i*  ij.  ^ 

/ r 

>7 

r / 

' p ^ 

if  ^ 0 1 

t/ 

c) 

!A 

, 

O 

XJ  Z 



1 V 

J 

r 

7ZJ1 

•f  cj 

f\ii>  3 1 

1 

1 

R 

s 

u 

r 

C/ 

* 0 

I 

XJ  6 

w % 

J ^ O ^ 

^ A 

«i 

n # 4 

1 

/#  9 

1 

I /O 

V* 

^ / H 

V n 

1 

/ * 

^5 

» / , 

jr 

li 

XJ  ^ ^ v J II 

•f 

r\  5 

9) 

n 

.770 

7T 

n 

i 

|y  . ^ 

p 

1 

BP  A 9 ^ 

rJ 

i7  Am 

0 

A 

c/ 

O 

23 

y C2 

c/ 

— e-± 

...  0 Jl 

DIRECTIONS  TO  ABO^E  CHART. 

Do  is  called  the  key  note. 

When  we  change  the  position  of  Do  on  the  staff  we  are  said  to  change  the 
key.  When  the  key  changes  the  tones  assume  new  relations,  the  effect  of  which 
is  readily  detected  by  the  ear.  These  exercises  should  be  practiced  until  the 
change  of  Do  is  made  without  the  slightest  hesitation  or  break  in  the  music. 


CHART  SERIES  E— No.  5— Reduced 


67 


4)  o » <s4jj) «g  pj  O K?)  g Av  to  o|g  to 


4) " pi  to  ^ to  0 f/  r ° itv  Jto  r r-j 


d)g  jt/v  {to  \ \ ° ^ "tto  ^ 'J to  ^ J 


rp : =1 

' ==j| 

pj[2  0 to  flfr  & & tf  ^ 

\°  tfg  0 oo  V"  to*  y 

° ^-1 


KV  o to  $0  o ..  tftf'fez 
3 u-&-o- 


-o-  -&- 


tfg  Jfl. 


DIRECTIONS  TO  ABOVE  CHART. 

Chart  5 is  a summary  of  the  teaching  of  sharp  four  (#4)  or  Fi.  A very 
brief  daily  exercise  from  this  chart,  advancing  slowly  from  day  to  day,  will 
make  sharp  four  one  of  the  most  familiar  of  tones,  and  enable  the  pupils  to 
take  it  with  ease  from  every  other  tone  of  the  scale. 

(For  practice  see  Natural  Music  Reader  Number  Two,  pages  15,  16,  18,  21, 
38,  81,  87,  and  128.) 


68 


CHART  SERIES  E— No.  6— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

Chart  6 is  a summary  of  the  teaching  of  flat  seven  ((77)  or  Se.  Very  brief 
daily  exercises  should  be  given  from  this  chart  till  the  tone  is  perfectly  familiar 
and  readily  taken  from  every  other  tone. 

(For  practice  see  Natural  Music  Reader  Number  Two,  pages  23,  46,  56, 
70,  and  91.) 


CHART  SERIES  E— No.  7— Reduced 


69 


If! » Jhl-HR 

0 0 9 & 

V 

litza— Ez: 

t & / & / ® 9 

^ : 

J 

tfVh-niJl 

-4-  E-7~4-i 
— 

;-+v= 

J- 

-S-rr 

• 

B 4 J J ^±-±±1 

«r 

e c 

• i 9 (#  " • 1 - 

. J.<j)  gzj 

• 

\fo-2- J-  * 
y 2 r pj 

VVF-4  -J*  " * 

— f -g-Z 

% 

* 47 i 

i=^= 

DIRECTIONS  TO  ABOVE  CHART. 


This  chart  is  devoted  to  the  development  of  the  new  rhythm.  Exs.  1 and  2 review  the  previous  work.  The 
exercises  should  be  studied  in  order,  and  as  each  is  mastered  in  turn,  it  should  be  combined  with  those  that  go 
before. 

Beginning  with  iA,  sing  the  exercise  smoothly  with  perfect  intonation,  accenting  the  first  note  of  each 
measure.  Then  call  attention  to  iB,  and  to  the  fact  that  this  exercise  is  but  a very,  slight  modification  of  what 
went  before.  Thus : when  it  is  desired  to  indicate  that  the  tone  is  to  be  short,  dots  may  be  placed  under  the 

notes,  thus  ; 1 gut  but  the  same  effect  is  expressed  by  using  notes  of  another  value,  with 

rests  after  them,  thus  : j-A1  , so  that  iA  and  iB  are  to  be  treated  precisely  alike, 

excepting  that  the  tones  in  iB  are  to  be  short  and  detached.  No  change  in  beating  is  necessary,  as  in  both 
cases  a note  is  to  be  sung  with  each  beat. 

As  soon  as  iA  and  iB  are  properly  understood,  the  class  should  sing,  as  the  teacher  points  alternately  to 
them,  being  sure  to  bring  out  the  difference. 

The  teacher  should  sing  one  or  the  other  and  ask  the  pupils  to  tell  which  she  sings,  and  still  further  famil- 
iarity may  be  gained  by  requiring  the  children  to  write  similar  rhythms  from  dictation.  ( See  directions  in 
Music  Reader  No.  3.) 

iC,  teach  the  children  to  sing  this  exercise  freely  by  note  (see  directions  for  Vocal  Drill,  Music  Reader  No.  3 
Page  4,)  and  when  learned,  accent  the  first  and  the  third  notes,  then  beat  with  the  accents,  and  combine  with 
those  previously  learned. 

iD,  E and  F,  should  be  mastered  in  the  same  way,  and  these  forms  studied  separately  and  in  combination 
till  the  sight  of  tne  form  brings  the  rhythm  instantly  to  mind. 

Ex.  2A,  B,  and  C reviews  the  unevenly  divided  beat.  When  2A  is  sung  freely  proceed  to  2B,  which  gives 
the  effect  of  2C.  When  2C  is  mastered  combine  with  the  exercises  which  precede  it,  and  practice  as  before. 

The  teacher  should  now  require  the  pupils  to  write  the  forms  from  dictation,  and  to  point  them  out  on  the 
chart  as  she  sings  them  in  irregular  order. 

Ex.  3 contains  the  advance  step  of  the  lesson.  When  2C  is  familiar,  require  the  pupils  to  sing  it  with  one 
beat  for  each  measure,  then  call  attention  to  3A  and  explain  the  representation  of  the  idea  in  2-2  meter  ; show 
that  the  measure  in  the  parallel  below  is  but  another  expression  of  the  same  idea,  and  consequently  presents  no 
new  difficulty.  Go  through  the  exercise  showing  the  relation  of  each  part  to  what  has  gone  before,  and  practice 
the  forms  until  they  become  familiar. 


70 


CHART  SERIES  E— No.  8— Reduced 


fc± 


m 


[S  --k 


J*  W + J ~ 


fefc 


n hjjii^ 


im 


6E 


s « *\m  * --im jk 


■ P.l 7 5= -^-n 

B 



# # 

J 4 

-*U 

• 

3 


atzcg: 


is 


3a 


* * 


J J.,j|jj2jj 


DIRECTIONS  TO  ABOVE  CHART. 

The  principal  varieties  of  three  part  measure  are  developed  on  this  page. 
The  teacher  should  not  attempt  to  master  all  of  the  difficulties  at  once  but  return 
for  a short  drill  each  day,  until  the  pupils  easily  recognize  and  give  freely  the 
same  forms  in  the  book.  The  directions  on  page  ^ apply  here. 

Great  difficulty  is  sometimes  experienced  in  getting  the  pupils  to  see  the 
connection  between  these  drill  exercises  and  the  exercises  in  the  book.  They 
will  perform  easily  from  the  chart  but  fail  utterly  in  the  book.  The  reason  for 
this  is  obvious  to  the  experienped  teacher.  It  is  simply  because  the  pupils  learn 
the  exercise  as  a whole,  and  locate  it  on  the  chart,  so  that  when  the  teacher 
points  they  give  the  required  form  without  getting  any  more  distinct  impression 
of  it  than  its  location  and  surroundings.  Really  to  fix  the  figures  (measures)  on 
the  eye  and  the  mind,  dictation  and  copying  will  be  necessary,  as  well  as  all  of 
the  devices  used  by  primary  teachers  in  correcting  the  same  fault  in  black-board 
and  chart  exercises  with  words. 


CHART  SERIES  E— No.  9— Reduced 


7i 


Fram  Wuflner 


/ 

)=% 1 

u 

B 

b 

M ^ a * 

ffiS 

tan 

rl2 

[ J 

/ facz 

A 

*JJ  J-* 

F'-f- 

^5Ft= 

r -1 

LJ 

V 

km 

4 

—0 

-1 — 

ffFf 

* 

30 

- « 

— w 

V • * f 7- 

-Mz- 
— 

^ ' 
F=£ 

* J *- 

S 

-pT 

\P^-8  J J * 

\ J-djj* 

6=t=^ 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  1 enables  the  teacher  to  show  the  pupils  that  the  mastery  of  two  part 
measure  gives  the  power  to  sing  the  same  forms  when  used  in  four  part 
measure.  There  should  be  no  failure,  however,  to  distinguish  the  difference 
between  the  two  and  the  four  part  measure  by  proper  accents. 

Ex.  2A,  B,  and  C continues  the  study  of  three  part  measure.  It  not  infre- 
quently occurs  that  pupils  fancy  that  the  difficulty  varies  with  the  variety  of 
notes  used.  These  exercises  are  to  impress  on  the  mind  the  fact  that  these  are 
but  different  representations  of  the  same  idea. 

The  children  should  be  required  to  change  exercises  from  3-4  meter  so  as  to 
represent  them  in  3-8  meter,  and  the  reverse,  that  they  may  become  perfectly 
familiar  with  the  characters,  and  show  a full  appreciation  of  the  teaching. 


72  CHART  SERIES  E— No.  io— Reduced 


17 

£ 

ta'ri  n~r/' 

I- 

)— -4 

-jiji 

t~t~T  1/f  **:r~ 

1*~  # # ' I 

J-J 

V 

-h-= 

— r 1 wh- 

- ^ 

j J 

=J_Ji 

- «/ 

r~0  6 

y , 7 ^ # Ha 

Ffcr j— 1 

jt  J 1 [fH 

+-4— r-:-^Fd[ 

it± 4 

3g§*Z  ^^ZMLTSI^ 

J'- 

DIRECTIONS  TO  ABOVE  CHART. 

Next  to  the  chromatic  tones  already  studied  (#4,  j27?  #5)>  flat  three  (£3)  is 
perhaps  most  important.  With  the  effect  of  this  tone  the  children  are  already 
familiar,  as  it  is  felt  when  we  sing  La,  Si,  Do.  It  only  remains  to  become  fam- 
iliar with  the  representation,  and  to  learn  to  recognize  it  in  new  combinations. 
The  study  of  this  chart  should  be  reviewed  whenever  exercises  in  the  book  con- 
taining this  difficulty  are  to  be  studied. 


CHART  SERIES  E— No.  n— Reduced 


7 3 


17 


O %o  O 


<9  gO 


¥»v>'’\ute»i0o0\s 


fc± 


1(1) 


<y-  bo  ® ba*  ^9.  ^ 1 «*  b<9 


zr 


^ g>  g O tgB  tpZ  0 II  ^ g 


SZT 


17 


^ g bg  ° g 


gg  \0-e-n 


-0-B—& 


DIRECTIONS  TO  ABOVE  CHART. 

In  previous  charts  the  chromatic  tones  have  all  appeared  with  their  names. 
Before  beginning  the  study  of  this  chart  the  teacher  should  make  sure  that  the 
pupils  are  familiar  with  them.  As  the  study  is  sequential,  the  mastering  of  the 
exercise  to  the  first  double  bar  opens  the  way  for  the  correct  rendering  of 
the  whole.  Care  should,  therefore,  be  taken  in  fixing  the  first  unit  or  element. 
A few  minutes  should  be  spent  upon  these  exercises  each  day. 


74 


CHART  SERIES  E — No.  12 — Reduced 


P^i 

•1 

Efrn 

- - j **  J4r + 

V 

=*=*= 

=f=F- 

J -11  J - 7 J J :I1  JT3 

:===r=^=_====Vf^_^=ni 

sr 

FfrF 

rk-^. 

E 

bLl0£dA /j 

DIRECTIONS  TO  ABOVE  CHART. 

It  Is  essential  to  rapid  reading  that  the  pupil  should  recognize  the  rhythms 
at  sight.  Each  form  of  measure  should  become  so  familiar  that  the  instant  the 
eye  rests  upon  it  the  effect  becomes  present  to  the  mind.  The  rhythmic  drill 
charts  are  intended  for  daily  practice.  The  teacher  should  establish  the  feeling 
of  the  rhythm  by  singing  some  simple  form  of  measure  until  the  accent  is  felt  by 
the  class  and  they  are  able  to  keep  the  time  steadily. 

When  the  feeling  is  fully  established  the  teacher  steps  to  the  chart,  and 
moving  the  pointer  from  measure  to  measure,  conducts  the  class  through  all  of 
the  exercises,  pausing  at  first  upon  any  measure  that  gives  trouble,  and  devel- 
oping those  that  are  new.  Before  the  exercise  closes  the  class  should  be  able  to 
move  from  exercise  to  exercise  without  pause,  in  any  order  the  teacher  may 
select. 


CHART  SERIES  F— No.  i— Reduced 


75 


g g * g 


tl 


12  ^ 


*'«'  o 


* ^ 

2 


7T 


KE 


ZTjg 


s: 


X2L 


-^-ZT 


-<9- 

3 


zr 


TT 


^ 77- 


^ „ 0 « to-" 

— -7T  -O-  U 


zr 


J 

j 

1 

£ 

) g to  0 1 

1 


^ ^ u 


DIRECTIONS  TO  ABOVE  CHART. 


The  fundamental  idea  which  runs  through  the  various  series  of  charts  has  been  fully  set 
forth ; but  as  we  proceed  to  present  expressions  of  a still  more  complex  character  it  is  well  for 
the  teacher  to  remember  that  the  complexity  is  in  appearance  only,  and  that,  if  the  ideas  have 
been  mastered  by  previous  study,  it  only  remains  to  become  familiar  with  the  expression. 

In  this  case  Ex.  i is  the  major  scale.  It  should  be  used  as  a whole  and  also  as  a means  of 
bringing  out  the.  effect  of  each  tone.  The  exercise  should  be  conducted  by  the  teacher,  pointer  in 
hand,  and  the  class  should  take  the  notes  in  order  or  skip  about  as  the  teacher  indicates. 

Ex.  2 is  the  Normal  Minor  scale,  beginning  and  ending  on  La  and  containing  no  chromatic 
tone.  This  scale  should  be  practiced  daily. 

Ex.  3 is  the  Harmonic  Minor  scale.  The  chromatic  tone  Ti  ($5)  requires  special  study.  La, 
Ti,  La,  and  Do,  Si,  Do  sound  alike,  -^1^— 1 ga-<s’-gL- but  the  skip  from  #5  to  4 requires 


Do  si  do  La  ti  la 

special  care.  Dwell  upon  this  scale  until  it  is  mastered. 

Ex.  4 prepares  the  way  for  the  Melodic  Minor  scale,  the  last  form  to  be  mastered. 

It  contains  two  chromatic  tones  ascending,  which  are  omitted,  however,  in  descending.  The 
chromatic  tones  $4  and  $5  give  the  effect  on  Re,  and  Mi,  so  that  Mi,  Fi,  Ti,  La,  and  Do,  Re,  Mi, 
Fa  sound  alike.  As  Do,  Re,  Mi,  Fa,  are  already  familiar,  it  only  remains  to  give  the  same  pitches 
using  the  syllables  Mi,  Fi,  Ti,  La,  and  when  this  can  be  done  to  sing  these  tones  in  connection 
with  the  other  tones  of  the  scale.  The  descending  scale  of  the  Melodic  Minor  is  like  the 
Descending  Normal  Minor  which  is  already  familiar. 

The  use  of  the  Modulator  should  form  a part  of  every  lesson. 


76 


CHART  SERIES  F— No.  2— Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

This  Modulator  contains  precisely  the  same  idea  that  appears  on  Modulator 
7,  but  the  expression  is  different,  and  therefore  must  be  made  familiar. 

Ex.  1 is  the  Major  scale  again. 

Ex.  2 is  its  relative  Normal  Minor. 

Ex.  3 is  the  Harmonic  Minor. 

Ex.  4 is  the  Melodic  Minor. 

So  far  the  differences  of  expression  are  due  to  the  key  signature,  and  should 
be  already  perfectly  familiar  representations. 

Ex.  5 is  a different  expression  of  the  idea  that  Ex.  4 conveys.  This 
expression  is  exceedingly  important.  It  gives  us  the  power,  when  mastered,  of 
singing  flat  three,  or  Me,  as  a scale  tone  between  Re  and  Fa,  and  also  command 
of  the  very  common  but  troublesome  expression  Do,  Se,  Le,  Sol  (8  £7  1?6  5). 

The  method  of  study  is  simply  to  master  Ex.  4 and  then  practice  Ex.  5, 
giving  the  same  tones,  but  using  the  syllables  required  by  the  representation. 

A few  minutes  spent  on  this  exercise  at  the  opening  of  the  singing  lesson 
will  be  very  helpful. 


CHART  SERIES  F— No.  3— Reduced 


77 


iiv  ; . ! 1 

3=r¥= 

e 



— • i 

0 

. 

3=a=3==! 

i-.n  n\ 

rf#a— | 

* 

f 

hi 

ir  4 . 0 

e= 7 -1 J 

/ 3 — 

0 

7 

DIRECTIONS  TO  ABOVE  CHART. 

By  carefully  following  the  order  of  development  in  this  chart  the  pupil  is 
led  by  easy  steps  to  a complete  mastery  of  the  rhythms  represented. 

Ex.  1 contains  nothing  new,  yet  frequent  drill  upon  these  forms  of  meas- 
ure should  be  given. 

In  F the  pupil’s  attention  should  be  directed  to  the  office  of  the  rest.  He 
should  remember  that  it  simply  takes  the  place  of  the  dot,  and  indicates  that  the 
note  before  it  is  to  be  short. 

Exs.  2 and  3 are  simple  variations  of  the  different  forms  in  Ex.  1. 


78 


CHART  SERIES  F— No.  4-Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

Exs.  I,  2,  and  3 are  for  drill  upon  the  tones  of  the  Minor  scale.  Practice 
upon  these  and  similar  combinations  should  form  a part  of  each  lesson. 

The  teacher  should  use  the  pointer  to  guide  the  pupils.  The  order  in 
which  the  tones  are  taken  must  be  varied  to  suit  the  ability  of  the  pupils. 

Ex.  4.  The  method  by  which  syncopation  may  be  studied  is  here  illus- 
trated. The  pupils  should  be  required  to  give  two  beats  for  each  measure. 

Return  to  this  exercise  frequently  for  drill. 


79 


CHART  SERIES  F— No.  5— Reduced 


hi--2-*- f 

# ^ " ' • 

•T 

— ^ J 

n 2a 

=f=h4 

^=fi 

![/  - 

c 

W4-J- 
=£== . 

D ^ 

* d J .-|| 

trl  &=£ 

w 

-J-j-*1- 

c 

-J-1  -J-r-4 

=s£  . 

0 

E 

— — rr^ 

a . ■ . - 

gyj  y«P* 

J 

DIRECTIONS  TO  ABOVE  CHART. 

It  Is  essential  to  rapid  reading  that  the  pupil  should  recognize  the  rhythms 
at  sight.  Each  form  of  measure  should  become  so  familiar  that  the  instant  the 
eye  rests  upon  it  the  effect  becomes  present  to  the  mind.  The  rhythmic  drill 
charts  are  intended  for  daily  practice.  The  teacher  should  establish  the  feeling 
of  the  rhythm  by  singing  some  simple  form  of  measure  until  the  accent  is  felt  by 
the  class  and  they  are  able  to  keep  the  time  steadily. 

When  the  feeling  is  fully  established  the  teacher  steps  to  the  chart,  and 
moving  the  pointer  from  measure  to  measure,  conducts  the  class  through  all  of 
the  exercises,  pausing  at  first  upon  any  measure  that  gives  trouble,  and  devel- 
oping those  that  are  new.  Before  the  exercise  closes  the  class  should  be  able  to 
move  from  exercise  to  exercise  without  pause,  in  any  order  the  teacher  may 
select. 


8o 


CHART  SERIES  F— No.  6— Reduced 


rfrtL  1 . 

7 

c 

a 

D 

C 

a 

□ 

> 

* 

® 0 1 

— 0 & o$P  0 — 0 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  i is  the  Normal  Minor  scale.  Dwell  upon  it  until  it  is  perfectly  fam- 
iliar, then  using  the  pointer  practice  the  intervals  from  it. 

Ex.  2 presents  the  characteristic  tone  of  the  minor  (sharp  five).  The 
intervals  are  for  practice,  with  others  that  the  teacher  may  suggest. 

Exs.  3 and  4 are  two  representations  of  the  same  sounds.  From  these 
exercises  give  — 1st,  rhythmic  practice,  giving  four  notes  to  one  beat,  holding 
the  finger  down  each  time  while  four  notes  are  sung;  2d,  practice  on  flat  three 
or  Me.  Give  Ex.  3 with  the  syllables,  then  when  familiar,  with  loo.  Sing 
Ex.  4 with  loo,  and  when  the  pupils  give  it  freely  apply  the  syllables,  fixing  on 
the  pupil’s  mind  the  name  of  flat  three  or  Me. 

Ex.  5 is  for  chromatic  practice.  Use  the  pointer  and  dwell  upon  the  tones 
that  give  trouble. 


CHART  SERIES  F— No.  7— Reduced  81 


1 a °r  tHi 

* Is  H m * P*"  *| 

7f » jfe 

RY  4 J J 

/hpr3  1 

> S*, — 

([¥  ^8'^  ? — J-3 

gABlCy^lj  M 

DIRECTIONS  TO  ABOVE  CHART. 

This  chart  reviews  the  dotted  note  in  3-4  meter,  and  gives  an  application  of 
its  use  in  Ex.  2 and  3.  It  should  be  remembered  that  the  eighth  rest  in  iD 
simply  takes  the  place  of  the  dot,  and  the  difference  between  iC  and  iD  is  very 
slight. 

Ex.  3 gives  another  representation  of  the  same  idea  that  Ex.  2 contains,  the 
difference  being  in  the  representation  of  the  rhythm  only. 


DIRECTIONS  TO  ABOVE  CHART. 

Exercise  iA  and  B are  two  representations  of  the  same  effect.  Both  repre- 
sentations should  become  perfectly  familiar.  The  tone  successions  which  they 
represent  should  be  taught  by  rote.  The  teacher  first  being  perfectly  familiar 
with  the  exercises,  teaches  them  orally,  then  presents  the  chart  and  causes  the 
children  to  sing  as  she  points,  taking  care  that  the  proper  syllables  are  applied 
to  each  tone. 

Ex.  2 is  for  drill  upon  #5  or  Ti.  Pass  slowly  over  the  notes  with  the 
pointer,  dwelling  on  the  important  points,  and  repeating  each  interval  till  it  is 
fixed  on  the  mind. 

Ex.  3 is  an  application  of  Ex.  2 in  the  Harmonic  Minor  scale.  These 
scales  should  become  perfectly  familiar  to  both  ear  and  eye  before  they  are  left. 

Ex.  4A  and  B sound  alike.  4A  is  the  key  to  4B. 

Ex.  5 is  an  application  of  4B  in  the  Melodic  Minor  scale  ascending. 
Having  practiced  4B  until  3 #4  #5  and  6 become  perfectly  familiar,  practice  Ex. 
5 up  to  Mi.  When  this  part  is  also  learned  combine  them  in  the  whole  scale 
and  practice  till  learned.  If  the  age  of  the  pupils  justifies  it,  the  teacher  may 
call  attention  to  the  fact  that  this  Melodic  Minor  scale  is  simply  a combination 
of  two  scales,  and  the  relation  of  the  two  scales  may  be  explained. 

Exercise  6A  and  B sound  alike,  being  two  representations  of  the  Minor 
scale  descending.  The  first  (Ex.  6A)  will  be  perfectly  easy,  and  it  is  only 
necessary  to  practice  the  same  tones  with  different  syllables  to  learn  Ex.  6B. 

The  importance  of  Ex.  6B  cannot  be  over-estimated.  Familiarity  with 
this  scale  gives  us  I27  and  £3,  three  most  important  tones. 


CHART  SERIES  F— No.  9— Reduced 


83 


Mi 


^1 


^3 


rftfo r 

— r 

— — 1! 

- 1 J — gp  ” — 

rM?f— f===j~  rqgfg 

/stt  jam 

- w — — — — ^ — 9- 

~r  9 # v . 

(<\  fi  M £>  W * 

E 0 E _ _ j#  _ 1 E 0 * 

KT  Or*  4 * 

V 

t^T 

1*  » 

• 



S 0 

E iH • 41 

v;  i » 4 ^ 

%r 

4 " * ^ ~ 

DIRECTIONS  TO  ABOVE  CHART. 

The  rhythms  presented  on  this  chart  have  already  been  presented  by  rote. 
If  the  pupils  are  unable  to  sing  four  notes  to  one  beat,  cause  them  to  sing  Ex. 
1 A by  rote  after  the  teacher.  When  the  notes  are  given  freely  with  perfect 
intonation,  cause  the  pupils  to  accent  the  first  and  the  fifth  notes,  then  allow  them 
to  beat  with  the  accent,  and  the  difficulty  disappears. 

Ex.  iB  is  difficult  at  first  on  account  of  the  contrast  between  the  two  meas- 
ures. Be  very  careful  not  to  hurry  the  second  measure.  As  each  new  form  is 
mastered  it  should  be  combined  with  the  others,  and  practice  should  continue 
until  the  pupils  can  pass  readily  from  one  exercise  to  another  without  hesitation, 
keeping  the  beat  all  the  while. 


84 


CHART  SERIES  F— No.  io— Reduced 


u 


17 


W 


fer 


rf 1 

n 

/ 

| 

V 1 i 



Jii  - 

L-tj — o 11  O u O-J 

v°  EZ 

_ fj .y_ 

1 75 

sy  fJ  *y 

fi  pT 

n ° 

±0  pv  o 

o vo  0 

IS  C/ 

C/ 

'll 

| 

1/ 

o a « o 

n CJ 

r 

a is  a 

O o 

Ik 

* 

bP 1 

o P ° o~  0 o 

O u Gs*n  O' 



DIRECTIONS  TO  ABOVE  CHART. 


Ex.  iA  and  B.  Mi,  Fa,  Mi,  and  Do,  Ra,  Do,  sound  alike,  because  they 
are  both  minor  seconds,  up  and  back.  Do,  Re  gives  a different  effect.  It  is  a 
major  second. 

Ex.  2 represents  the  minor  second  up  and  back  from  each  tone  of  the  scale, 
and  contrasts  its  effect  with  the  major  second  which  follows.  The  exercise  is 
sequential ; that  is,  the  same  effect  is  repeated  from  each  tone  of  the  scale,  so 
that  when  the  first  element  is  learned  the  entire  exercise  becomes  easy. 

The  minor  second,  Mi,  Fa,  in  the  key  of  Ak,  corresponds  with  Do,  Ra,  in 
the  key  of  C.  This  fact  is  shown  in  Ex.  iA  and  B.  Mi,  Fa,  Mi  may  be  taken 
for  a model  for  all  minor  seconds  up  and  back. 

Ex.  3 gives  the  effect  of  a minor  second  up  and  back,  then  down  and  back, 
from  each  tone  of  the  scale.  This  exercise  presents  less  difficulty  than  the 
other.  As  in  Ex.  2 the  first  element  of  the  exercise  is  the  clue  to  the  whole. 


CHART  SERIES  F— No.  n— Reduced 


*5 


DIRECTIONS  TO  ABOVE  CHART. 

The  varieties  of  measure  represented  on  this  page  should  be  taught  by  rote ; 
then  carefully  practiced  from  the  chart  until  the  pupils  can  take  the  exercises  in 
any  order,  keeping  the  beat  as  they  pass  from  one  to  another. 


86 


CHART  SERIES  F— No.  12-Reduced 


!'l 

*r  0 

U^T 

O'  £0  "~0 

4-J- 

^ - 

6 

j J rtj  j tj  J ii 


fret  Hd  fto  yj"  fid.  4-  tfd  d ffo 


izz 


=%=  ~1f4 

~ 7H — rr 75 — 

— J TT— H 7JT — 

--H 

J ffd  <5’*  * 

•T 

p 9p  u 

4r 


ss 


gj  jj  r br 


s: 


j ffj  j 
u -j  j -j 


2: 


DIRECTIONS  TO  ABOVE  CHART. 

Ex.  I is  nearly  sequential.  When  the  first  unit  is  mastered  the  entire  exer- 
cise becomes  easy.  Practice  from  one  or  two  units  at  a time,  progress  slowly 
from  day  to  day  till  the  difficulty  is  overcome. 


CHART  SERIES  F— No.  13— Reduced 


87 


DIRECTIONS  TO  ABOVE  CHART. 

The  rhythms  of  Ex.  1,  A,  B,  C,  and  D,  are  all  modifications  of  the  first 
two  measures.  Each  part  of  the  exercise  should  be  studied  by  itself  and  then 
combined  with  the  others. 

Ex.  2 gives  practice  in  rhythm  as  well  as  in  the  already  familiar  chromatic 
tones. 

Ex.  3 illustrates  the  manner  in  which  syncopation  may  be  easily  understood 
and  mastered. 


88 


CHART  SERIES  F— No.  14— Reduced 


/ 3 u & 

3 

9 

/ . 0 7 0 r ^ 

w ipr 

10  r * r r*  ^ 

-p  / *r-  ' 

r 

Li-J  1 — -1 

f 1 11  l Li= 

— i- 

rfxi 

1 

J 

1 

iii 

1 

1 ! 

, M i 

,11 

A 1 

b# 

h J 1 \ 

— — r 

— J M 

-& r~ 

— — 

V ’n  W’ 

* r =5 

DIRECTIONS  TO  ABOVE  CHART. 

The  previous  study  of  chromatic  progressions  should  enable  the  pupils  to 
master  this  study  quite  readily.  Each  division  of  the  exercise  should  be  studied 
by  itself  and  mastered.  Then  the  whole  exercise  should  be  studied.  The 
rhythm  should  be  studied  by  itself  and  mastered.  For  this  purpose  the  chart 
containing  a similar  rhythm  should  be  studied  in  connection  with  this. 


CHART  SERIES  F— No.  15— Reduced 


89 


V 


MJJUJ 


sm 


~"i — N 1 — — zrrw~z 

4^4rTrrTiri(^ 


in- 


?  9 

/ * 

■ 

■ 

{<  "k  A I 

1 

1 

LjJ 

I^IM 

— 

'—r 

A-A 

-A 

w . 

O 

JLJ 

Ltt *- 



rf — r~ 

a m 

rig 

iji 

W- 

AA 

~7T~ 

a 

JE+Z 

—4 

t=z — 

if,*  0 

M 'Mf  . 

A P » 

r • 

a 

j'—AfP 0 

0 5 

P TT 

J 

pnn  — 

^ — 

■y  1 1 — H_  i1  " 11  M 1 I-M-J 

directions  TO  ABOVE  CHART. 

Ex.  I.  The  tone  effect  of  Do,  Re,  Mi  (1,  2,  3),  or  the  first  three  tones  of 
the  major  scale  taken  upward  is  here  represented  from  each  tone  of  the  scale. 

Sing  the  first  three  measures  carefully  and  fix  the  tone  effects  on  the  mind. 
This  is  the  key  to  the  exercise.  Having  fixed  the  first  unit,  take  the  next* 
remembering  to  give  precisely  the  same  tone  effect  as  before. 

Practice  the  exercise  until  it  becomes  perfectly  easy  and  natural  to  give  the 
effect  from  any  tone  of  the  scale  with  the  correct  names  for  the  chromatic  tones. 

Ex.  2.  The  tone  effect  of  Do,  Re,  Mi,  Fa  (1,  2,  3,  4),  or  the  first  four 
tones  of  the  major  scale  taken  upward  is  here  represented  from  each  tone  of  the 
scale. 

Study  the  first  four  measures  carefully,  and  fix  the  tone  effect  on  the  mind. 
.This  is  the  key  to  the  exercise.  Each  succeeding  four  measures  gives  precisely 
the  same  effect,  only  from  a different  point  of  departure.  The  exercises  of  the 
chart  when  thoroughly  mastered  give  great  power  over  the  chromatic  tones  here 
represented. 


CHART  SERIES  F— No.  16— Reduced 


9° 


T-f-t 

IfV  fH vlfT 

vf — r~ 

■ff  J If*- 

— t — — 1 — 7 — 1 — r- 

I 

H? it- 

H I I 1 I 

n 2 

J J 

— \ — 1 — 1 1 h 

i — 1 — r "i — r- 

+ = =£ 

J-  Jgi  J J 

grim  1 irrr 

1 J|J  JiJiW 

J-  A-  J J 

ft® 

DIRECTIONS  TO  ABOVE  CHART. 

The  effect  of  the  first  three  tones  of  the  descending  scale,  is  given  from 
each  tone  of  the  scale  in  succession.  The  first  three  measures  are  the  key  to  the 
exercise.  Each  succeeding  part  of  the  exercise  sounds  like  the  first  in  every 
respect  excepting  the  pitch.  Having  the  tone  effect  of  the  first  part  in  mind, 
give  the  same  effect  from  each  tone  of  the  scale  in  turn. 

It  is  assumed  that  the  pupils  are  already  familiar  with  the  names  of  the 
chromatic  tones.  If  the  teacher  finds  the  class  deficient  in  this  particular  she 
should  carefully  teach  the  names  as  she  progresses. 

Ex.  2 teaches  the  progression  by  minor  seconds  upward.  This  exercise, 
like  the  others,  is  sequential,  so  that  no  difficulty  should  be  experienced  after  the 
first  element  is  mastered. 


CHART  SERIES  F— No.  17— Reduced 


9i 


rjky 

~li  1 1 — 

— W~ 

/A  S. 

fin 

nt— h 

p /mv  r — m 

FY  V 

^ * M 

J — 3 — 

£z__J 

& 

~ j- 

r-0-4) — ^1-1— 

Ly  0 L 

. 1 1 \ r 

— r 

^ JiIeo  13 

* 1 1 1 M J O rr 

* 

Lot  J 

~TT~ 

py  p a j - 

7 ^ I ^ 

77 

K7  ¥ek  + 

V ' 

— ^ 

T=4 

^ — 

4= 

DIRECTIONS  TO  ABOVE  CHART. 

This  chart  tests  the  power  of  the  pupils  to  apply  the  teaching  of  the  modu- 
lators. 

Exs.  1 and  2 sound  alike.  They  should  be  practiced  until  one  repre- 
sentation is  as  familiar  as  the  other. 

Ex.  2 may  be  used  as  a key  to  Ex.  1,  or  the  order  may  be  reversed. 

Ex.  3 is  derived  from  the  Modulators,  and  is  intended  as  a test  of  power  on 
the  two  Minor  scales,  the  Harmonic  and  the  Melodic. 


92 


CHART  SERIES  F— No.  18— Reduced 


-h^rr— 

— H 7 

> ■ J"  BP“ 

~^:LP  -Jto-=-l 

V 

nP — 1 — 1 

* 

"Ti 

T^fl 

=1 

ti 

V 

O ^ J 

J ‘"J 

^ / ft  . 

w-jr-*— 

— 

V 

^ U-  J 

«77\  4+  ^ 

=? 

=1 

*> 

h g stW- 

V 



P 

— rirl" 

.1 1 nu 

-TSSjl 

TTI 

•f 

^ _T.,  ^ g 3* 

DIRECTIONS  TO  ABOVE  CHART. 

Ex.  I is  an  application  of  the  training  to  be  derived  from  the  use  of  Modu- 
lators 7 and  8. 

Ex.  2 is  another  expression  for  the  same  exercise,  to  be  used  to  assist,  if 
necessary,  in  securing  correct  intonation  for  No.  i. 

Ex.  3 is  an  application  of  the  teaching  of  the  modulator.  7 #1  #2  3 is  the 


same  as  1 2 3 4 or  3 #4  #5  6. 


Do, re,  mi,  fa.  Mi,  fi,  ti,  la. 


These  combinations  should  be  practiced  daily 


Si,  di,  ri,  mi. 


CHART  SERIES  G-No.  i-Reduced 


93 


if  2- 

"''♦II  - — 1 

if  ,|f.a 

— w — 0—^ & 

— 

fefjl V if. 

I*-C  »-*-» 

55 

55 

EPfSp 

trj  jisp  4J 

if-  ilfs 

t ^ 
^ 

y ..  J J . gl—ll 

ft)  1 J ld)p4  ^ 
rf,;,  ||  P*  2 rs 

PL-? Ly' & __ 

gS/Tr 

-J — 

— * 

& 

■ 'UiUm  Webs  • 

w w 

DIRECTIONS  TO  ABOVE  CHART. 

This  Modulator  presents  the  scale  in  five  keys. 

Before  referring  to  the  modulator  the  teacher  should  cause  the  pupils  to 
sing  the  scale  freely  up  and  down  by  rote,  using  various  syllables  such  as  la, 
loo,  a,  oo. 

The  exercise  should  be  sung  with  a pure  round  tone,  not  too  loud,  but  very 
free.  The  first  and  fifth  tones  of  the  scale  should  be  accented  slightly.  When 
the  scale  is  sung  perfectly  and  the  rhythm  is  fully  established  by  means  of  the 
accents,  the  pupils  should  be  required  to  beat  with  the  accents.  This  will  give 
the  power  to  sing  four  notes  to  one  beat,  and  strengthen  the  feeling  of  the 
rhythm. 

After  Ex.  i is  sung  freely,  the  accents  carefully  placed,  and  the  beating 
done  correctly,  pass  to  Ex.  2.  Sing  Do  Re  of  the  first  scale,  hold  the  Re, 
change  e to  o,  then  to  Do.  This  gives  the  Do  of  the  new  scale.  Practice  this 
scale  as  the  first  was  practiced,  then  pass  to  No.  3.  In  this  exercise  Do  or  the 
key  note  is  derived  from  the  previous  exercise,  and  not  from  the  scale  of  No.  1 
or  C,  as  has  been  done  previously. 

No.  4 is  derived  from  C again,  and  the  process  of  getting  Do  is  indicated 
by  the  letters  under  the  exercise. 

Do  of  Ex.  5 is  derived  from  Do  of  Ex.  4. 

While  dwelling  upon  this  chart  it  may  be  well  to  review  the  elementary 
teaching  of  previous  charts. 


CHART  SERIES  G— No.  2-Reduced 


94 


DIRECTIONS  TO  ABOVE  CHART. 

Tone  Drills  form  a part  of  the  work  for  each  grade.  By  Tone  Drill  we  fix 
each  tone  in  the  mind  of  the  pupil,  so  that  it  can  be  taken  without  hesitation 
from  every  other  tone.  In  this  drill  no  attention  is  paid  to  the  character  of  the 
interval. 

The  complete  drill  consists  in  taking  each  tone  of  the  scale  in  turn  from 
every  other  tone.  This  gives  the  different  tone  effects,  and  establishes  tone 
relation  very  clearly.  In  giving  these  drills  it  is  essential  that  the  order  of  the 
tones  be  constantly  varied,  so  that  the  pupil  may  not  be  able  to  anticipate  the 
tone  next  in  order,  but  be  obliged  to  consider  each  tone  in  its  relation  to  the  one 
just  preceding  it  only. 

The  exercises  given  on  this  page  are  suggestive.  The  teacher  should  con- 
duct the  exercise  pointer  in  hand,  and  repeat  the  exercise  in  part  and  as  a whole 
until  the  tones  are  taken  with  perfect  freedom. 


CHART  SERIES  G— Mo.  3— Reduced 


95 


n # | 

II  P.oV'l 

_ J J ",  [ 

-*-^=w= 

■rh  g— r- 

ii. 4 J J 

4 m p.  *■  J--?:  1 

-rJ  rr  W~f  | 

V 

S h 

« 

-+- - 

t J *7  'j#"'"  ...  . , 

rP.o V II 

— s 

V 

0 m / ^ r / ^ 

V 

._£) 5A.  . r» 

0 / - . 

— •“Zfc 

B 

• j h 

nji'iji 

1 f^iiV-rirf** — hn — 

J • J • 

V 

• 0 

j 0 * 

^ ?7" 

DIRECTIONS  TO  ABOVE  CHART. 


The  common  varieties  of  2-4  measure  are  here  reviewed. 

Exs.  1,  2,  3,  and  4 illustrate  the  fact  that  when  rests  of  less  value  than  one 
beat  are  used,  no  appreciable  pause  in  the  music  is  indicated.  The  same  effect 

could  be  expressed  by  placing  dots  under  the  notes ; thus,  and 


would  sound  alike. 


The  different  varieties  of  measure  should  be  practiced  separately  and  then 
in  combination,  taken  in  any  order  which  the  teacher  may  indicate  by  pointing, 
making  no  pause  between  the  different  exercises. 


96  CHART  SERIES  G — No.  4 — Reduced 


rf-* f 

hrr r 

-ih1 

/ 7)  ^ 77 “/ 

t f 0 Hz,  ttt 

/ W o 0 Kro  27  77  7J~ 

rT  0 v 

k 

1 : ! 

¥=  - - 11 

n 3a 

H r 

-fF : : n 

/ b O 7 

fy  ^ 7jrt 

V 77  1 

t(^\  v**  7}  77 — 

w V 

•f  y •) 

W * 

V 

■ft#5 n 

h 

-g  na- 

\( 

6 

;t  a ho — — ftzT 

Jr  ~ Cs  **  0 4* 

0 6 11 

t 

/ ire/  1/e/  0 ft  ire/  tie/  {| 

A 

;7  — — zrfl 

< 

r & 

p 4+ 7 ^ .. 

& it 0 \\o  ^ n 

L 

< 

7 ^ 77  & O \\77 ^ 6M! 

DIRECTIONS  TO  ABOVE  CHART. 

The  chromatic  tones  most  frequently  used  are  #4  or  Fi  and  \tj  or  Se.  Sol, 
Fi,  Sol  (5,  $4,-  5)  and  Do,  Si,  Do  sound  alike,  hence  one  may  be  used  as  a 
guide  to  the  other. 

Sol,  Fa,  Mi  (5,  4,  3)  and  Do,  Se,  La  (8,  j?7,  6)  sound  alike,  hence  the  first 
may  be  used  in  teaching  the  second. 

The  teacher  should  dwell  upon  these  tones  until  they  are  perfectly  familiar, 
and  the  pupils  are  able  to  take  them  from  every  other  tone  with  perfect  freedom. 

Exs.  5,  6,  and  7 suggest  to  the  teacher  the  kind  of  drill  that  may  be  best 
used  in  teaching  new  tones.  The  teacher  should  guide  the  class  by  pointing, 
dwelling  upon  each  combination  of  notes  until  it  is  learned,  and  adding  other 
combinations  that  occur  to  her  as  she  proceeds. 


CHART  SERIES  G— No.  5— Reduced 


97 


DIRECTIONS  TO  ABOVE  CHART. 

Exercises  in  two  or  more  keys  occur  in  all  of  the  chart  series.  It  is  the 
object  of  the  exercises  to  accustom  the  ear  to  the  effect  which  a key  change 
produces.  When  the  pupils  have  become  familiar  with  the  effect  the  same  kind 
of  exercises  are  given,  with  the  key  change  expressed  by  means  of  accidentals. 

The  exercises  of  this  chart  should  be  practiced  until  the  pupils  can  sing 
them  smoothly,  making  the  changes  indicated  by  the  syllables  printed  under  th$ 
notes  without  the  slightest  hesitation. 


CHART  SERIES  G — No.  6— Reduced 


98 


rfc 

,b--- - 

/ , h 

0 0 0 ~ 0 

— — — — C? 

tr — - — o—o 0—0 — — 

Hrr 

~o~  -1 

— e/ — 
1 

-fv 

— c* — c/ 

-<9- 

1- 

pt 

■Oh 

0 — 

— — & 

hL 

s 

0- 

*9— 

Lj-0- 

1 

— 0- 

Hi 

X Z 3. 

« 

rfr-fa  4 

0 

— ® — 

— ^1 



—ft 

J" 

■J— 

-f 

-i-s- 

W-  J 

DI 

rect: 

at _ 

IONS  ' 

-a — 

TO  A1 

aL 

30v: 

E CH 



ART. 

LM 

A scale  beginning  on  La  or  6 is  called  a Minor.  This  form  of  the  Minor 
scale  contains  no  chromatic  tone.  It  is  called  the  Normal  Minor  scale.  The 
scale  should  be  practiced  until  it  is  perfectly  familiar  to  the  ear  and  eye. 

Ex.  2 is  intended  to  call  attention  to  the  characteristic  tones  of  the  Normal 
Minor,  and  suggest  a form  of  tone  drill  by  which  the  pupils  may  be  made 
familiar  with  them.  The  teacher  should  conduct  the  exercise  pointer  in  hand, 
repeating  each  combination  until  it  is  learned,  and  making  other  combinations 
which  seem  desirable. 

Exs.  3 and  4 are  applications  of  the  Normal  Minor  in  simple  melodies. 


■A  — 1 — — 

CHART  SERI 

prri- 

ES  G— No.  7— Red 

iuced 

99 

'yjj» 

= 4^4 

^ m f f-p  f 

h 

-fl J 

KjtL 



X 

#p 



DIRECTIONS  TO  ABOVE  CHART. 

It  will  be  seen  on  examination  of  Ex.  i,  A and  B,  that  Sol,  La,  Si,  Do  (5, 
6,  7,  8)  of  the  key  of  C,  and  Do,  Re,  Mi,  Fa  (1,  2,  3,  4)  of  the  key  of  G, 
sound  alike.  It  is  therefore  very  easy  to  pass  from  one  scale  to  another  by 
making  use  of  the  parts  of  the  scales  which  are  alike.  Thus  having  sung  in 
Ex.  6 the  last  four  note s'  (Do,  Re,  Mi,  Fa)  the  next  note  of  the  scale  (Sol) 
comes  immediately  into  the  mind,  but  instead  of  calling  it  Sol  call  it  Do,  and 
pass  on  at  once  to  Ex.  7,  and  in  a similar  way  to  Ex.  8.  When  by  practice  the 
pupils  have  become  able  to  pass  from  Ex.  6 to  Ex.  7 without  break,  begin  with 
Ex.  2,  and  practice  the  exercises  continuously  till  the  pupils  can  pass  from  Ex. 

1 2 to  Ex.  10  without  making  a break  at  any  point. 

Changing  Do  or  the  key  note  in  the  manner  described  here  is  called 
1 changing  the  key.  The  new  key  is  each  time  indicated  by  a change  in  the  key 
signature.  It  will  be  observed  that  each  time  Sol  or  5 of  the  old  scale  becomes 
Do  or  1 of  the  new.  Sol  is  called  the  Dominant  tone  of  the  scale,  and  when 
the  Dominant  (5th  tone)  of  one  scale  becomes  the  tonic  (Do  or  1st  tone)  of 
another  we  say  the  key  is  changed  from  the  Tonic  to  the  Dominant. 

Beginning  with  Ex.  6,  the  change  is  indicated  by  the  addition  of  one  sharp 
in  the  key  signature  ; while  beginning  with  Ex.  2,  the  same  change  is  indicated 
by  the  removal  of  one  flat  each  time.  The  same  relative  change  of  key  is  indi- 
cated, therefore,  by  removing  a flat  that  is  shown  by  the  addition  of  a sharp. 
Practice  on  this  chart  should  be  continued  as  a part  of  the  daily  exercise  until 
the  effect  of  this  modulation  (change  of  key)  is  fully  recognized  by  the  ear. 
(Sing  very  slowly  at  first.) 


IOO 


CHART  SERIES  G— No.  8— Reduced 


- 

^ 

A 

A 

~w~ 

A 

A 

ft 

~0 — 

~0~- 

VT/T 

y 0 

9 & 

ors: 

vM 

^ A 

~ i 

L* 

A 

A 

...y 

-J 

0 

•H — _ . ... 

/ 

m c 

9 

4a 

4ft 

0 f 

m 

0 4 

0 M 

ft 

0 

X»ft  X«ft 

l<  \ 

Oh 

f 

Vi. 

W 

4 



9 

r?- 

“2s 

”3*  ■ 

1 

LS 

W 

'A 

-Jg- 

b=3 

_ 9 

*—4 

P 

ti 

— 

V- 

-A- 

— 

A 

x*x* 

0 

-A— 

A 

0 

# 

0 

XX  XX 

u 

A 

0 — 
0 

A 

4 

A 

z 

^-1 

p-^-1 

P 4 

J — A- 

—0 

— *u 

w 

- 0 

:=3= 

l_ 

'ir- 

4ft 

_n 

A 

x*» 

J 

' ^ 

p» 

r W 

-*L, 

'0~ 

m gm 

r5^  ( 

eJ 

■P" 

— a 



J fll- 

— (P-- 

—fl 

fl 

4 

y ■ .-Cr 

1 

E C. 

u 

DIRECTIONS  TO  ABOVE  CHART. 

This  chart  is  to  serve  the  double  purpose  of  tone  drill  and  vocal  exercise. 

The  teacher  should  guide  the  pupils  with  the  pointer,  and  conduct  the  tone 
drill  by  passing  slowly  from  note  to  note,  dwelling  upon  troublesome  combin- 
ations, and  making  such  variations  from  the  regular  order  of  the  exercise  as  the 
failures  or  successes  of  the  class  suggest. 

When  the  exercise  is  familiar  to  the  ear  and  eye,  it  should  be  practiced  as  a 
vocal  exercise,  slowly  at  first,  and  very  smoothly.  As  power  is  gained  the 
tempo  should  be  increased.  The  practice  should  be  continued  until  the  whole 
exercise  is  rendered  with  perfect  freedom.  Daily  drill  from  this  chart  will 
greatly  increase  the  pupils’  power  of  vocalization. 

The  rhythm  should  be  carefully  regarded.  The  accent  falls  on  the  first 
beat,  while  the  second  and  third  beats  are  unaccented. 


CHART  SERIES  G— No.  9— Reduced 


101 


F#%#  3~ 

3 

: =!= 

f ST- 

** 

Ul- 

W~ 3 — 

f-h n 

1 0 h a2> h- 

B 

1 — * 

T — h — rt" 

' — '-J — “ 

J H-Mh 

-^-7-k74 

4 J ' — L 

1^1.  n"  Jl  r t 

* J 1 «»  4 

r-j^-^hTV 

p n Hl 

1:  J a 

* J J 

r-P,  b 1 . rir- 

/ v . 1 

7 — 

• 

J J ^ j 

1 

DIRECTIONS  TO  ABOVE  CHART. 


Ex.  I reviews 


the  sharped  tones  from  above  and  the  use  of  the  triplet 


The  names  of  the  sharped  tones  are  given  below,  so  that  those  who  have 
not  learned  them  before  may  take  this  opportunity. 

The  first  note  of  the  triplet  should  be  slightly  accented. 

Ex.  2 reviews  the  varieties  of  three  part  measure.  Each  section  of  the 
exercise  should  be  studied  by  itself  and  then  combined  with  the  other  parts. 

The  teacher  should  continue  the  exercise  till  the  pupils  can  pass  freely  from 
section  to  section  in  any  order  without  hesitation. 

Such  exercises  as  this  are  intended  to  fix  the  appearance  and  the  effect  of  each 
variety  of  measure  in  the  pupils’  mind  so  firmly  that  the  sight  of  the  measure 
instantly  suggests  the  rhythmic  effect,  and  the  sound  of  the  measure  instantly 
suggests  the  representation.  The  teacher  should  therefore  require  the  pupils  to 
write  such  rhythms  from  dictation,  as  well  as  to  sing  them  at  sight. 


J 02 


CHART  SERIES  G-No.  io-Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

In  A and  B it  is  shown  that  Do,  Re,  Mi,  Fa  (i,  2,  3,  4)  of  A,  and  Sol,  La, 
Si,  Do  of  B sound  alike.  Here  are  parts  of  two  scales,  therefore,  that  are 
identical.  By  making  use  of  this  common  element  in  scales  we  are  able  to  pass 
easily  from  one  scale  to  another. 

Beginning  with  Ex.  1 we  sing  the  last  four  notes,  Si,  Do,  Re,  Mi.  The 
tone  Fa  immediately  comes  into  our  mind.  By  keeping  the  tone  and  changing 
the  Fa  to  Do,  we  pass  immediately  to  Ex.  2,  and  from  this  in  like  manner  to  the 
next,  and  so  on  to  the  end. 

It  will  be  observed  that  Fa  or  four  of  one  scale  becomes  Do  or  the  Tonic  of 
the  next.  Fa  is  called  the  Sub-dominant,  and  when  this  change  is  made  we  are 
said  to  have  changed  the  key  from  the  Tonic  to  the  Sub-dominant. 

Beginning  with  Ex.  5,  it  will  be  seen  that  the  change  of  key  (from  the 
Tonic  to  the  Sub-dominant)  is  each  time  indicated  by  the  addition  of  a flat  to 
the  key  signature;  also  that,  beginning  with  Ex.  1,  a sharp  is  removed  each 
time  to  indicate  the  same  change.  From  this  we  learn  that  the  removal  of  a 
sharp  is  equivalent,  so  far  as  it  indicates  key  change,  to  the  addition  of  a flat. 

A comparison  of  this  page  with  Modulator  No.  10,  page  7,  will  help  to 
impress  the  teaching  on  the  mind. 


DIRECTIONS  TO  ABOVE  CHART. 

The  scale  beginning  and  ending  on  La  or  6 is  called  the  Minor  scale.  This 
chart  presents  this  scale  with  all  of  its  common  modifications,  i is  the 
Normal  Minor.  2 is  the  Melodic  Minor.  3 is  the  Melodic  Minor.  4 is  the 
Harmonic  Minor.  5 is  a mixed  scale.  Preparatory  drill  for  Ex.  2 will  be 
found  on  page  23  of  this  series.  (Compare  Nos.  6 and  4 or  1 and  4.) 

The  most  important  feature  of  this  page  lies  in  the  relation  between  Ex.  2 
and  Ex.  3.  These  exercises  sound  precisely  alike.  When  Ex.  2 has  been 
mastered  by  the  aid  of  suggestion  just  given,  Ex.  3 should  be  practiced  until  it 
is  perfectly  familiar. 

The  combination  Do,  Re,  Me,  Fa,  (1,  2,  t>3,  4),  ascending,  and  Do,  Se, 
Le,  Sol  (8,  I27,  1 26,  5),  descending,  are  of  great  importance.  This  combination 
occurs  frequently  in  the  Readers  which  accompany  this  chart,  as  well  as  in  all 
advanced  music  elsewhere. 

When  Ex.  2 is  mastered  with  the  syllable  loo,  apply  that  syllable  to  Ex.  3 ; 
and  when  the  pupils  become  accustomed  to  the  sound  and  the  representation, 
apply  the  syllables  suggested,  and  continue  the  practice  until  it  can  be  sung 
perfectly  with  them. 


104 


CHART  SERIES  G-No.  12-Reduced 


rfzfc 

III 

v 

fcdz 


4r 


-0 0- 


s \ + + *4 


n 2a 

p02=p== 

i3| 

v * 

-IL  b c 

lei 


c 

*"1  r~"~i  • ^ i _ _ **  j ^ 1 

~ f_~» " J nr-g-y- *M  ^ i J 1 ^ 


3a 


DIRECTIONS  TO  ABOVE  CHART. 

It  is  essential  to  rapid  reading  that  the  pupil  should  recognize  the  rhythms 
at  sight.  Each  form  of  measure  should  become  so  familiar  that  the  instant  the 
eye  rests  upon  it  the  effect  becomes  present  to  the  mind.  The  rhythmic  drill 
charts  are  intended  for  daily  practice.  The  teacher  should  establish  the  feeling 
of  the  rhythm  by  singing  some  simple  form  of  measure  until  the  accent  is  felt 
by  the  class  and  they  are  able  to  keep  the  time  steadily. 

When  the  feeling  is  fully  established  the  teacher  steps  to  the  chart,  and 
moving  the  pointer  from  measure  to  measure,  conducts  the  class  through  all  of 
the  exercises,  pausing  at  first  upon  any  measure  that  gives  trouble,  and  developing 
those  that  are  new.  Before  the  exercise  closes  the  class  should  be  able  to  move 
from  exercise  to  exercise  without  pause,  in  any  order  the  teacher  may  select. 

The  teaching  of  this  chart  and  that  of  page  13  applies  directly  to  four  part 
measure.  (See  parallel  in  meter,  page  16.) 


CHART  SERIES  G— No.  13— Reduced 


0 *A 

B 

V 

Ffrf 

~TL#< 

=# 

ji 

S'  ~ 

/TS  2a 

A 2 f=F 

V 

Eg 

& 

a 

c 

-s-s - 

H)P4  J7 

J * 4 

^ 1 1 J 1 j •j| 

l ^ # J tj| 

® V [j 

3a  B c 


fr-B- 



y'  h j 

• 

• 

it  ML./*.-, « 



• Li 

JJJ  J ^ 

• 

^ ■ J . 

^ •! 

? € 

g 1 • 

n 

~ ^ ^ _ji  . 

E 


DIRECTIONS  TO  ABOVE  CHART. 

It  is  essential  to  rapid  reading  that  the  pupil  should  recognize  the  rhythms 
at  sight.  Each  form  of  measure  should  become  so  familiar  that  the  instant  the 
eye  rests  upon  it  the  effect  becomes  present  to  the  mind.  The  rhythmic  drill 
charts  are  intended  for  daily  practice.  The  teacher  should  establish  the  feeling 
of  the  rhythm  by  singing  some  simple  form  of  measure  until  the  accent  is  felt  by 
the  class  and  they  are  able  to  keep  the  time  steadily. 

When  the  feeling  is  fully  established  the  teacher  steps  to  the  chart,  and 
moving  the  pointer  from  measure  to  measure,  conducts  the  class  through  all  of 
the  exercises,  pausing  at  first  upon  any  measure  that  gives  trouble,  and  devel- 
oping those  that  are  new.  Before  the  exercise  closes  the  class  should  be  able  to 
move  from  exercise  to  exercise  without  pause,  in  any  order  the  teacher  may 
select. 

The  teaching  of  this  chart  and  that  of  page  12  applies  directly  to  four  pari 
measure.  (See  parallel  in  meter,  page  16.) 

For  one  additional  rhythm  ( i i Tjj)  see  page  17. 


io6 


CHART  SERIES  G— No.  14— Reduced 


3 


^ > 


& — g* — ar 


*2 


!±_ 


Z7 


DIRECTIONS  TO  ABOVE  CHART. 

It  is  essential  to  rapid  reading  that  the  pupil  should  recognize  the  rhythms 
at  sight.  Each  form  of  measure  should  become  so  familiar  that  the  instant  the 
oye  rests  upon  it  the  effect  becomes  present  to  the  mind.  The  rhythmic  drill 
charts  are  intended  for  daily  practice.  The  teacher  should  establish  the  feeling 
of  the  rhythm  by  singing  some  simple  form  of  measure  until  the  accent  is  felt 
by  the  class  and  they  are  able  to  keep  the  time  steadily. 

When  the  feeling  is  fully  established  the  teacher  steps  to  the  chart,  and 
moving'  the  pointer  from  measure  to  measure,  conducts  the  class  through  all  of 
the  exercises,  pausing  at  first  upon  any  measure  that  gives  trouble,  and  devel- 
oping those  that  are  new.  Before  the  exercise  closes  the  class  should  be  able  to 
move  from  exercise  to  exercise  without  pause,  in  any  order  the  teacher  may 
select. 

The  teaching  of  this  chart  and  that  of  page  15  apply  directly  to  all  varieties 
of  three  part  measure.  See  parallel  in  meter,  page  16. 


CHART  SERIES  G-No.  15— Reduced 


107 


r=C3==1  1 

/ fio 

^ ^ ^ ® 

Lf>it  ^ r^l 

l ^ * 

• 

• 

■ -J  4 

nrz ; . 

• 

# . • 

VL  j ^ i 

— #-#- 

w.  * 

w 

— 

W3 

1 

9 J 0 

— % 

==]=- 

* 1 / 

ferrrrr  1 

rm- 

E=5® 

• 0 • 9 

— 

TON 

•J  J a 

UaiSs* 

-1  1 

— “ 

nn  ■ 

Z • ^ i 

2 — 1 

• . 5^ 

r — ' 

pX  r 

1 

• 

. - 

j — 

• 

Xt * 

9T  ^ 0* 

— 1 d~ 

^ CJ  ~ ^ ^ v 

ZjfLf 

K 

ITi 

— r~^ — t 

• 

px  ...  / r 

# / J 

* — r 

-is — 

— ±- S 

• — r 

*y  --J 

-J*1** 

-L  » Eg 

4 

- * *~m 

• 

DIRECTIONS  TO  ABOVE  CHART. 

It  is  essential  to  rapid  reading  that  the  pupil  should  recognize  the  rhythms 
at  sight.  Each  form  of  measure  should  become  so  familiar  that  the  instant  the 
eye  rests  upon  it  the  effect  becomes  present  to  the  mind.  The  rhythmic  drill 
charts  are  intended  for  daily  practice.  The  teacher  should  establish  the  feeling 
of  the  rhythm  by  singing  some  simple  form  of  measure  until  the  accent  is  felt 
by  the  class,  and  they  are  able  to  keep  the  time  steadily. 

When  the  feeling  is  fully  established  the  teacher  steps  to  the  chart,  and 
moving  the  pointer  from  measure  to  measure,  conducts  the  class  through  all  of 
the  exercises,  pausing  at  first  upon  any  measure  that  gives  trouble,  and  devel- 
oping those  that  are  new.  Before  the  exercise  closes  the  class  should  be  able  to 
move  from  exercise  to  exercise  without  pause,  in  any  order  the  teacher  may 
select. 

The  teaching  of  this  chart  and  that  of  page  14  apply  directly  to  all  varieties 
of  three  part  measure.  See  parallel  in  meter,  page  16. 


io8  CHART  SERIES  G— No.  16— Reduced 


r ..jj  j 

UfPfF 

— fs 

irw^rf- 

W- 

•J 

f" 

T-!- h? 

fcJ-5- 

» 

V 

A 3 

T#-1 

« 

Sp  h b Fi 

= C-4' 

0 . ^ - Ft « 

» 

:=22 

» 

• 

V 

\*W.  «» 

j K®  • ^ ' 

» 

:=a 

* 

h- ' 

V 

=H=* 

1 

: 3 

hr- 

DIRECTIONS  TO  ABOVE  CHART. 

It  is  sometimes  difficult  to  make  pupils  appreciate  the  fact  that  notes  rep- 
resent the  relative  duration  of  tones,  and  that  they  in  no  way  indicate  the  tempo 
of  the  music.  The  parallels  in  meter  are  intended  to  assist  in  correcting  errors 
on  this  point. 

The  parallels  between  2-4  and  4-4,  and  3-8  and  6-8  should  be  fully  explained, 
and  the  proper  accents  carefully  noted. 


CHART  SERIES  G— No.  17— Reduced  109 


DIRECTIONS  TO  ABOVE  CHART. 

The  development  of  the  chromatic  scale  was  begun  in  the  third  year  (Ch. 
Ser.  C).  Each  year’s  study  has  added  something  to  the  pupil’s  power  to  sing 
this  scale  correctly.  The  development  here  given  will  prove  a sufficient  guide, 
however,  to  those  who  have  not  taken  the  previous  work. 

Beginning  with  Ex.  1 bring  out  carefully  the  contrast  between  Sol  Fi  and 
Sol  Fa,  then  pass  to  Ex.  2A,  and  practice  the  succession  there  given.  Ex.  2B 
sounds  just  like  Ex.  2A.  Practice  both  expressions  until  they  seem  easy  and 
natural.  Ex.  3 becomes  easy  when  Ex.  2 is  well  learned ; and  Ex.  4 is  a step 
in  advance  of  Ex.  3.  It  only  remains  to  put  4A  and  4B  together  to  get  the  full 
chromatic  scale. 

A little  work  from  this  chart  taken  as  a daily  exercise  will  give  perfect 
command  of  the  chromatic  scale  before  the  end  of  the  year. 

Ex.  6 is  a development  of  the  syncopated  eighth  note,  and  should  be  used 
in  connection  with  pages  13  and  14. 


no 


CHART  SERIES  G— No.  18-Reduced 


DIRECTIONS  TO  ABOVE  CHART. 

The  study  of  intervals  is  undertaken  as  a means  to  an  end,  and  in  no  case  as  an  end.  . If  the 
pupil  studies  this  chart  carefully  he  comes  to  fully  appreciate  the  difference  between  major  and 
minor  seconds,  and  in  gaining  this  appreciation  he  will  become  perfectly  acquainted  with  the  effect 
of  accidentals.  Such  intervals  as  Si  Di  ( 7 #1 ) and  Mi  Fi  ( 3 #4  ) and  so  on  will  become  perfectly 
familiar. 

The  teacher  should  never  lose  sight  of  the  fact  that  the  effect  of  chromatic  tones  and  familiar- 
ity with  accidentals  is  the  real  object  of  study. 

Ex.  2 reviews  the  study  of  seconds. 

Ex.  1 A and  B is  the  key  to  the  exercise. 

The  units  of  the  exercise  are  separated  by  double  bars.  The  first  unit  should  be  studied  until 
it  is  thoroughly  mastered,  and  then  the  others  may  be  taken  in  turn.  C and  F are  the  most  impor- 
tant units  in  the  exercise. 

The  contrast  between  major  and  minor  seconds  having  been  learned,  and  the  representation 
mastered,  we  proceed  to  consider  the  only  remaining  second.  This  interval  occurs  in  the  Harmonic 
Minor  Scale,  and  in  that  connection  it  should  already  be  familiar.  (See  page  11,  Ex.  4 of  this 
series.) 

The  effect  which  is  characteristic  of  the  Harmonic  Minor  may  be  expressed  freely  by  means  of 
accidentals,  so  that  it  becomes  necessary  to  devote  special  study  to  it.  Ex.  3 is  devoted  to  the 
study  of  the  augmented  second.  Taking  the  already  familiar  expression  La,  Ti,  Fa,  Mi  ( 6,  #5,  4, 
3 ) as  the  unit  we  note  four  different  expressions  for  the  same  idea. 

The  study  consists  in  repeating  each  of  these  expressions,  with  the  syllables  of  the  key  in. 
which  it  occurs,  until  it  becomes  perfectly  familiar. 

A beautiful  illustration  of  the  use  of  this  idiom  in  melody  will  be  found  in  the  Fifth  Reader 
( page  33  ) of  the  Natural  Course  in  Music* 


CHART  SERIES  G— No.  19— Reduced 


11  r 


DIRECTIONS  TO  ABOVE  CHART. 

The  study  of  seconds  (page  18)  prepares  for  the  study  of  thirds  (thirds  a& 
described  in*  the  Fifth  Reader  of  this  Course).  Ex.  iA,  B,  C and  D serves  as 
a key  to  the  exercise. 

By  bringing  major  and  minor  thirds  into  strong  contrast  the  effect  of  the 
accidental  is  strongly  felt.  Each  element  of  the  exercise  should  be  practiced  by 
itself  until  the  chromatic  tone  which  it  contains  becomes  perfectly  familiar. 

It  will  be  found  that  the  syllable  loo,  or  a vowel  in  place  of  the  usual  sylla- 
bles, will  make  the  exercise  seem  easier  at  first. 

The  teacher  should  conduct  the  exercise  pointer  in  hand,  and  repeat  each 
interval  many  times,  taking  the  chromatic  tone  from  above  as  well  as  from  be- 
low, and  varying  the  order  of  tones  as  the  power  of  the  pupil  develops. 


112 


CHART  SERIES  G— No.  20— Reduced 


rp r 

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r 

r ■■■[ 

0"  "grz? i 

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5 

OO  V 

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II 

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ifO  II 

a ~ ^ 1 

Z7 ZT^ Z) — Z) 

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n 

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rp rn 

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A 

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DIRECTIONS  TO  ABOVE  CHART. 

The  study  of  fourths.  The  effect  of  the  augmented  fourth  is  so  striking 
when  contrasted  with  the  perfect  fourth,  that  it  furnishes  the  means  for  making 
some  otherwise  difficult  chromatic  easily  understood.  Ex.  iA,  B,  C and  D is 
the  key  to  the  other  exercises  on  the  page. 

As  the  pupils  become  familiar  with  the  chromatics  as  given,  the  teacher 
should  vary  the  exercise  by  taking  the  notes  in  reverse  order. 


CHART  SERIES  G-No.  21— Reduced 


TT3 


DIRECTIONS  TO  ABOVE  CHART. 

The  study  of  fifths  may  be  compared  with  the  study  of  fourths.  (See  page 
20  of  this  series.)  The  effect  of  the  diminished  fifth  will  seem  familiar  at  once. 
It  only  remains  to  use  this  interval  as  a means  of  mastering  certain  chromatic 
tones.  The  teacher  should  use  the  given  exercise  as  a model,  and  when  it  is 
learned  she  can  easily  vary  it  by  the  use  of  the  pointer  so  as  to  greatly  increase 
th"  value  of  training. 


7Ti 


CHART  SERIES  G-No.  22— Reduced 


rP n 

“ 

PA'  H 

?bbK~;r;ri 

T 1 

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k 

Y-  P tjO-Q k 

r p 0 a_ 1 

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“73 Z7“ 

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t/  C/  Cr — 

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— 9&-0 zr1 

DIRECTIONS  TO*  ABOVE  CHART. 

The  contrast  between  the  major  and  the  minor  sixth  is  here  illustrated. 
Exs.  1 and  2 are  the  key  to  the  lesson.  The  exercises  should  be  thoroughly  mas- 
tered before  Ex.  3 is  begun.  ‘ 

In  addition  to  the  recognition  and  rendition  of  the  interval  as  written,  the 
teacher  should  train  the  pupils  to  recognize  and  to  write  them  from  dictation. 
The  teacher  should  play  or  sing  the  intervals,  alternating  between  major  and 
minor,  and  the  pupils  should  name  or  write  them,  after  which  the  errors  should 
be  corrected  and  new  trials  made. 

While  learning  Exs.  1 and  2 the  syllable  loo  should  be  employed  before  the 
syllables  given  below  the  notes.  When  the  exercise  is  perfectly  rendered  with 
loo,  apply  the  given  syllables. 

When  the  pupils  can  give  the  tones  perfectly  with  both  loo  and  the  given 
syllables  no  further  difficulty  will  be  experienced. 


CHART  SERIES  G— No.  23— Reduced 


TI5 


DIRECTIONS  TO  ABOVE  CHART. 

The  effect  of  Sol,  La,  Si,  Do  (5,  6,  7,  8 ) is  a very  common  one,  but  it  may 
be  expressed  in  a great  variety  of  ways.  The  object  of  the  study  here  is  to 
make  the  various  expressions  of  this  effect  so  familiar  to  the  eye  that  they  will 
be  recognized  at  sight  and  sung  with  ease.  Beginning  with  iA  sing  all  of  the 
exercises  with  loo. 

This  will  be  perfectly  easy  to  do  as  they  all  sound  precisely  alike.  When 
this  has  been  done  begin  with  iB,  and  give  the  expression  with  the  syllables 
beneath.  This  will  be  found  to  be  more  difficult.  Continue  the  practice,  alter- 
nating, if  necessary,  between  the  given  syllables  and  the  syllable  loo,  until  it  is 
perfect.rendered  both  ways.  Having  mastered  iB,  proceed  to  study  iC,  in  the 
same  manner  and  continue  the  study  until  each  expression  has  been  mastered. 

Exs.  2 and  3 illustrate  the  use  of  this  expression  in  melody.  These  may  be 
used  as  tests  by  which  the  power  of  the  pupils  may  be  tried.  Many  similar  but 
more  extended  expressions  will  be  found  in  the  Fifth  Reader  of  this  course,  for 
the  study  of  which  reference  is  made  to  this  chart. 


CHART  SERIES  G-No.  24— Reduced 


A 

1_  / 

^f=r,r  1 

jj(p  4 J 

W 

I 

r«V3l  j 1 

J '^  4 

“U  J' 

"I  / 

1 n — 

1— t — 1— F=r- 

•1  • H* 

<3^4*  4 J 

pfAa'J  11 

1 r — 1 

i 

J - 

•T 

: J -J 

DIRECTIONS  TO  ABOVE  CHART. 

The  expression  Fa,  Mi,  Re,  Do  is  very  common,  but  it  is  represented  in  a 
great  variety  of  ways. 

It  is  the  object  of  the  study  of  this  chart  to  make  the  different  representations 
of  this  expression  so  familiar  to  the  eye  that  it  'will  be  instantly  recognized  in  all 
connections. 

Beginning  with  iA  sing  all  of  the  expressions  with  the  syllable  loo.  This 
will  be  perfectly  easy  to  do,  as  they  all  sound  alike.  Having  done  this  begin 
with  iB  and  sing  it  with  the  syllables  given  below.  When  this  is  learned  pass 
to  1C  and  proceed  in  like  manner  till  each  expression  can  be  rendered  freely 
with  the  syllables  required.  The  pupils  may  be  tested  on  Exs.  2 and  3.  The 
Fifth  Reader  of  this  course  gives  more  extended  examples  of  the  use  of  these 
expressions,  in  connection  with  which  references  are  made  to  this  chart. 


METHOD.  As  in  learning  to  speak  the  child  imitates  the  words  of  its  mother, 
so  in  learning  to  sing  by  this  method  the  child  begins  by  imitating  the  sounds 
as  sung  by  its  teacher.  (This  comes  first  in  songs — music  pure  and  simple  ; 
second,  in  the  scale  as  a unit.)  And  as  through  repetition  and  long  familiarity 
the  growing  mind  comes  to  see  in  words  not  empty  sounds,  but  symbols,  each 
of  which  stands  for  something,  so  in  learning  music  the  child  soon  ceases  to 
imitate  and  begins  to  think  and  feel  for  himself.  At  first  he  learns  to  utter 
sounds  by  rote.  Afterwards  the  representation  of  these  sounds  is  given.  In 
a short  time  the  pupil  begins  to  see  between  the  sound  utterea  and  the  sound 
represented  a harmonious  connection  ; he  ceases  to  be  dependent  upon  his 
teachers  ; he  is  able  to  read  for  himself. 

Another  feature  of  this  course  is  its  mode  of  presentation.  The  first  book 
contemplates  the  last ; the  last  includes  the  first.  No  lesson  is  isolated,  treated 
once  and  then  forgotten  ; but  each  lesson,  though,  independent  in  its  own 
particular  treatment,  is  a development  of  the  lesson  which  precedes  and  an 
introduction  to  that  which  follows.  Indeed,  the  series  resembles  a fabric, 
which,  while  it  is  a unit  in  itself,  is  composed  of  individual  threads. 

GRADING.  Through  all  the.  stages  of  this  course  the  material  has  been 
arranged  with  a view  to  the  capability  of  the  pupil  to  read  and  appreciate. 
There  is  nothing  so  difficult  as  to  repulse,  nor  is  there  anything  repeated  to 
such  an  extent  as  to  cause  loss  of  interest  in  the  work.  From  the  simplest 
subject  the  pupil  is  led  to  an  understanding  of  the  most  advanced  themes,  the 
nature  of  the  material  in  each  lesson  being  fitted  to  cause  him  to  look  forward 
with  pleasurable  interest  to  that  which  follows. 

In  accordance  with  the  method  the  ascent  is  so  gradual  as  to  be  almost 
imperceptible,  and  yet  so  thorough  that  the  pupil,  having  reached  the  summit, 
commands  a view  of  all  the  ground  over  which  he  has  traveled. 

The  progress  from  the  first  is  rapid.  Children  trained  in  this  course  progress 
more  rapidly  and  show  greater  power  than  can  be  acquired  in  any  other  way, 
and  their  progress  is  uninterrupted  from  beginning  to  end. 

ITMMARY.  The  aim  of  the  Natural  Music  Course  is  educational  in  the 
sense. 

ourse  contains  such  an  array  of  splendid  material  as  has  never  before 
iven.in  a similar  work. 

e system  is  well  graded,  interesting  throughout,  and  adapted  to  the 
irements  of  our  best  schools. 

he  method  of  presentation  in  both  books  and  charts  is  true  to  the  best 
principles  of  teaching  common  to  other  branches  of  education,  and  has  proved 
eminently  successful  in  every  case  where  it  has  been  tried. 

Superiority  in  these  and  other  features  will  commend  the  Natural  Course  in 
Music  to  teachers  and  school  officers  desiring  to  introduce  and  use  the  best 
system  published. 


motets 


The  Natural  Co 

By 

Frederic  H.  Ripley  and  Thomas  Tapper 


HARMONIC  SERIES 


This  series,  the  newest  of  the  well-known  Natural  Music  Course,  is  a working 
course  of  power-giving  quality;  it  affords  children  an  easy  mastery  over  musical  sym- 
bols; it  enables  them  to  render  appreciately  and  agreeably  the  printed  page;  it 
promotes  a love  for  music,  rather  than  a mere  attachment  for  a few  songs;  it  develops 
the  auditory  imagination;  and  it  makes  the  power  to  express  musical  thoughts  a familiar 
possession.  From  the  first  lesson  to  the  last  the  child  is  trained  to  enjoy  pure  music, 
and  is  carefully  drilled  in  each  step  as  it  occurs  in  the  books  and  charts. 


NATURAL  MUSIC  SERIES 


Books 


Among  the  notable  characteristics  of  this  series  are  the  adequate  prominence  given 
to  the  element  of  rhythm/  proper  attention  to  tone  production,  effective  treatment  of 
chromatics — an  essential  but  often  neglected  subject  in  view  of  its  great  use  in  modern 
music — and  abundant  dictation  exercises,  which  afford  a training  in  self-expressicn 
and  originality,  and  form  an  important  aid  in  learning  to  read  music. 

SHORT  COURSE  IN  MUSIC— Two  Books 

Designed  for  graded  or  ungraded  schools  in  which  a more  complete  course  is 
either  unnecessary  or  impracticable.  Particularly  adapted  to  those  schools  which 
have  no  special  teacher  of  music. 

ROTE  SONG  BOOK — (First  Steps  in  Music) 

Contains  a carefully  prepared  series  of  music  lessons  for  beginners,  with  ample 
directions  and  appropriate  material  for  use  during  the  first  year  in  school.  The 
songs  are  simple  in  character  and  well  suited  for  young  children. 

CHARTS — Seven  Sets 

These  furnish  valuable  drill  exercises  supplementary  to  those  in  the  read 
are  intended  to  be  used  in  conjunction  with  the  books.  Each  new  dr 
encountered  in  the  latter  is  first  made  clear  by  suitable  exercises  in  the  charts. 

NATURAL  MUSIC  LEAFLETS 

An  extensive  collection  of  leaflets,  containing  devotional,  patriotic,  and  opera 
choruses,  cantatas,  oratorio  choruses,  and  miscellaneous  choruses,  generally  with 
piano-forte  accompaniment.  This  series  provides  a wide  range  of  selections  for 
chorus  singing,  and  is  adapted  to  supplement  any  music  text-books. 


AMERICAN  BOOK  COMPANY 


